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Architects, Interior DesignersTRANSCRIPT
contentsTWTheatreWorld
This issue of TW has two sets of page numbers - International
pages TW-1 to TW-56 for TW, and India pages TM-1 to
TM-28 for TM. TM is inserted between pages TW-46 and
TW-47 of TW.
SP
ECIA
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entertainworld
F U T U R ER E L E S E SA
TW-8
TW-18
Review - CineAsiaPreview - ShoWestTW-41
TW-47
TW-50
TECHNOLOGY
Oculus3D Arrives, on Film!
World’s First Imax Dome Sounds BigRebirth of a Seminal Theater
Kinoton Initiative180-Degree Screen at Fraunhofer
TW-24TW-26
TW-28
CINEMA SYSTEMS
Digital Design-age
Projection Series - XXVIII
Health and Safety at Work
TW-36
TW-38
SPECIAL FEATURE
World’s Second Largest CinemaCinema Feast in Middle EastTW-32
Whither Movie Entertainment?
A New ‘Avatar’ of Cinema...!
TW-29
Sandeep Mittal
Editor / Publisher
The Game Changer
MINDSHARET W E D I T O R I A L
I broached about the‘game changer’ in
these columns 12 weeks ago and I see it
happening already. Global cinema has
got a new spec - 3D. The spec, impressive
though, is quickly in for speculation.
Intriguing it might be, considering the
fact that even as the digital 3D is taking
the global show business in its stride, the
industry’s hitherto-mainstay – film – also
came up with similar, yet, cheaper
option.
Now, the global cinema stage has
practically become one for both, digital and
film 3D, for a possible show of strength.
One is seeking to redefine the very
perspective of entertainment with new age
technology while the other is trying to relive
the tradition with a blend of technology-
more or less to the same effect. It is
interestingly, a mind game now rather
than technology. A game of gauging the
business viability and prospects.
While each of them have their own
strengths, it appears at this moment in
time that digital 3D has an edge since it
has already proved its strength, and with
what results! US$2.5 billion revenues in
ten weeks and still counting! Plus a huge
buzz around!
I’m hoping it will find a good match in
its ‘film’ competitor. And television too
is not far behind!
The next few months will be interesting.
I inferred one game changer, and here is
two-in-one. 3D in digital and film (with
tv in tow)!
Value - INR 150 (US$ 15)
TEAM SANDY(in alphabetical order)
Bhavanashi Ramakrishna
Bobby Chetia
Mohanraj P
Raghavendra T
Yashodhara S
Issue # 45 / April-June 2010
PrintingRamya Reprographic, Bengaluru
TWTheatreWorld
Never doubt that a small group of thoughtfulcommitted people can change the world.Indeed, it is the only thing that ever has.
Theatre World is a quarterly publication, on the motion picture exhibition industry,for private circulation. It reaches out to subscribers, mainly theatre owners and tradeprofessionals in India, also subscribers in select Asian cities. Additional copies arebeing promoted at major international industry events. Theatre World seeks thehealthy promotion of the theatre industry through dissemination of usefulinformation. Some of the information is compiled from industry sources, tradejournals, company brochures for the benefit of readers, especially, theatre owners.Theatre World acknowledges with thanks the authors and publishers of these printedmaterials. Views expressed in the articles are those of the authors and not necessarilyof Theatre World. Theatre World is a trademark under registration. The contents ofTheatre World are under copyright registration. All rights reserved. Reproductionby any means in whole or part without written permission is prohibited. Unsolicitedprinted material is welcome but no responsibility is undertaken for the same andwill not be returned. Theatre World does not take responsibility for the absoluteaccuracy of information published.
Layout & Graphic DesignRaghavendra T
It’s been eleven years now since TW (TheatreWorld), began showcasingthe Show Business in its own inimitable style. Evidently, it’s been akaleidoscope of the global motion picture exhibition industry, as well as aneffective interactive platform between the industry and the wide spectrumof professionals associated with it: architects, acousticians, interiordesigners, technocrats of sound and projection, ticketing, concessionsconsultants, and, of course, the cinema builders! Due to the kind of contentit has been churning out issue after issue, there had been a persistentdemand from discerning readers that the magazine should have a letterscolumn through which they could express their views and share information.Admittedly, we did not realise that our effort would be valued so high, whichwas why we did not contemplate having a letters column so far. It’s been afulfilling factor too for us. On completion of a decade of striving existence,we are pleased to commence a Cinemascope column under which ourdiscerning readers can share their views. We invite all our readers to sendtheir opinions as well as suggestions relating to the industry and our effortin making it better. It may kindly be noted that for convenience of lucidity,the letters may be edited suitably, and Cinemascope retains the right toaccept or reject any letter depending on the merit of the subject discussed.So, please do send in your views to Cinemascope.
Mail your feedback to [email protected]
CINEMASCOPE
CONTACT DETAILS
RNI # KARENG02795/10/1/2002-TC
POSTAL ADDRESS231, 7th Cross, Indiranagar 1st Stage,
Bengaluru 560 038, India
COMMUNICATIONSPhone +9180 2521 5107 / 2527 2812 Fax +9180 2520 5094
EDITORIALBhavanashi Ramakrishna (Ram)
[email protected] Mobile +9198 4587 2794
ADVERTISINGBobby Chetia
[email protected] Mobile +9198 9250 4871
CIRCULATIONYashodhara [email protected]
Published by Sandeep Mittalon behalf of
Sandy Media231, 7th Cross,
Indiranagar 1st Stage,Bengaluru 560 038, IndiaPhone +9180 2527 2812
Fax +9180 2521 [email protected] www.sandy.in
Regional Offices51 Regency Chambers,
National Library Road, Bandra (W),Mumbai 400 050
Phone +9122 2643 9732Telefax +9122 2640 5023
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B5, 2nd Floor, Gems Court,14 Khader Nawaz Khan Road,
Nungambakkam, Chennai 600 006Phone +9144 2833 0906Telefax +9144 2833 0907
April-June 2010TW-6
A Box Office 'Avatar' in China
James Cameron's epic sci-fi making
Avatar made waves in an
unexpected market too, in Asia.
Despite several 'systemic' hassles like
the Chinese administrations
stringent guidelines as well as
natural hassles like snowfall and
bitter cold, Avatar burned up
China's boxoffice, earning about
400 million Yuan ($50 million) and
appears set to break the box office
record set by 2012. In the process, it
confirmed China as the 21st
century's second-highest-grossing
territory for Hollywood blockbusters
outside the U.S.
The hype around the Avatar release
was so high that nearly a foot of snow
blanketed the Chinese capital on the
movie's release day, and it didn't
premiere until midnight that night,
moviegoers still lined up in near-zero
temperatures for half-price 40 Yuan
tickets ($5.85) and sold out the show
at the Sanlitun Megabox theater.
The Avatar excitement peaked in the
run-up to Christmas and yearend
holiday when Cameron visited Beijing
on December 23.
China Renames 'Avatar' MountainA Chinese mountain has reportedly
been renamed in honour of the sci-
fi film Avatar, after claims it had
inspired scenery in the fantasy
blockbuster. The SouthernSky
Column in Zhangjiajie, Hunan
province, will now be known as the
Avatar Hallelujah Mountain.
Local officials said photographs of the
mountain had been used as the basis
for Avatar's fictional world of
Pandora. Avatar has become the most
popular film ever in China, making
$80m (£50m) at the box office so far.
Xiaoxiang Morning News said the
mountain was officially renamed at
a ceremony recently.
The director is well-known to Chinese
for Titanic, which grossed 360 million
Yuan ($52.7 million) here in 1998, a
record that was only broken last July,
by the Transformers.. The
Transformers…sequel earned 400
million Yuan ($59 million), making
China its No. two territory outside
the U.S. Its China box office record
was topped in December by 2012,
which made 460 million Yuan ($67
million).
The paper said a photographer from
Hollywood had visited the
Wulingyuan Scenic Area, the location
of the mountain, in 2008.
"Many pictures he took then become
prototypes for various elements in the
Avatar movie, including the
'Hallelujah Mountains'," Reuters
quoted the website as saying.
Avatar tours: The renaming of the
mountain is one of the several
attempts by Zhangjiajie to capitalise
on the success of Avatar. According to
agency reports, the tourists are being
offered special tours to the locations
that reportedly inspired the movie.
Avatar was estimated to have netted
four million Yuan ($586,000) came in
from the midnight showings- 3.5
million Yuan ($513,000) more than
that earned off midnight premieres
of Transformers: Revenge of the
Fallen.
In a very short time, China has
become the world's second-largest
market for Hollywood
blockbusters, attracting a growing
number of the nation's swelling
middle class.
A 3D China: As in the West, 3D is
helping to boost the Chinese box
office earnings. According to China
Film - the sole authorised body to
distribute foreign movies in China -
in two months to the Avatar run-up,
China experienced a 20 per cent rise
in the number of 3D screens totalling
to an estimated 700 screens
nationwide. That as much as 54 per
cent of Avatar prints in China were
3D goes to prove the growing
fascination for 3D digital format in
the country.
The municipal government website
has also adopted the slogan
"Pandora is far but Zhangjiajie is
near," which is said to be taken with
much excitement, and churning out
significant returns.
April-June 2010TW-8
Christie, FTT Deal for300 Solaria Series Projectors
Christie and German integration and
service provider Film Ton Technik
Hannsdieter Rüttgers GmbH (FTT) have
struck a major deal for a framework of
300 Christie Solaria series projectors to
be deployed across European cinemas.
The Christie Solaria series consists of
three new 2K DLP Cinema models
upgradable to 4K and two 4K models.
They feature different brightness and
resolution levels offering the ideal
solution for different cinema sizes and
needs. Hence the reason the contract
only stipulates the overall number of
projectors but does not specify the
models in order to allow a flexible
adaptation to the specifics of each
environment.
"Our customers had the best experiences
with Christie projectors and we ourselves,
a long term partner, are pleased with the
quality and technical support Christie
offers," says Thomas Rüttgers, Managing
Director of FTT. "Since many customers
went for Christie products, entering into
this agreement was simply a logical step
for us."
The cooperation with Christie dates
back to 2004, when the first small D-
Cinema rollout started. Since then, FTT
installed numerous 2K DLP Cinema
projectors of Christie's CP Series in
Christie Leads the Show With Series-2 DLP Projectors
Christie, the leader in digital cinema
projection technologies, announced
full production, shipping and
installation of its latest generation of
4K-ready DLP Cinema projectors, the
Christie Solaria series, beginning with
the Christie CP2220. The Christie
CP2220 digital cinema projector
features Texas Instruments' next
generation Series 2 DLP Cinema
technology. Shipments began early
January to North and South America,
Europe and Asia and are now installed
and showing feature films worldwide,
including Australia, Canada, Korea
and the United States. With orders
arriving daily, Christie continues its
lead in digital cinema deployment
resulting in 70 per cent of all digital
cinema installations worldwide since
the introduction of DLP Cinema
projectors - which Christie was also the
first to market.
Designed to meet all DCI
specifications, the Christie Solaria is
fully upgradeable to 4K digital cinema
and features Christie Brilliant3D
technology, providing the ultimate,
most realistic 3D experience with the
lowest cost of operation.
"Our manufacturing facilities are in
full production ensuring that we keep
pace with this overwhelming demand
for the new Christie Series 2
projectors," said Craig Sholder, vice-
president of Entertainment Solutions
at Christie. "With the spectacular
success of 3D movies like Avatar,
exhibitors realize that digital cinema is
no longer an option, it is a strategic
imperative. The Solaria Series is the
most practical, cost-effective solution
today, based on time-tested, highly
reliable DLP Cinema technology."
Manager Vince Butler of CLACO
Equipment and Service Inc., a specialist
in new cinema installations, upgrades,
and maintenance of both the
projection booth and auditoriums,
observed, "in order to remain
competitive, exhibitors have to be
proactive when deciding which
projector to buy today, and
upgradeability to the right 4K
technology is important. The main
advantage of Christie DLP 4K vs. LCOS
4K is its light output capabilities. The
DLP chip can handle the heat build-up
better. LCOS technology does not
allow for extreme heat to be
dissipated, and this can affect the light
output in larger venues."
Integrity Entertainment Systems, LLC,
an authorized digital-cinema reseller
for Christie, placed hundreds of orders
for the new Solaria Series 2 projector,
which it will install throughout the
United States. Integrity president Gary
Engvold wanted to provide his
customers with the largest selection of
2K and 4K cinema projectors on the
market. He also wanted to ensure that
his customers' technology investment
is future-proof.
"Some of our customers specifically
requested Christie's next generation of
cinema projectors because they offer a
4K upgrade option," remarked
Engvold. "It's inevitable that 4K is the
future of cinema, but I truly believe
that Christie DLP Cinema projectors are
the best choice for our industry
because they produce more light with
less energy. In fact, the energy and
lamp savings from using Christie versus
the LCOS technology over a ten year
period is huge. It's almost enough to
pay for the projector itself."
In addition to the Christie CP2220, the
new Solaria Series of 4K-ready digital
cinema projectors also includes the
Christie CP2210 and the Christie
CP2230.
many different cinema environments as
well as in studios or post production
facilities.
Stefan Müller, Business Development
Manager Cinema for Christie EMEA,
welcomed the continuation of this
intense cooperation with FTT: "We are,
of course, very happy that FTT is
showing such confidence and counting
on us for the next conversion phase.”
These 300 Christie projectors are
primarily going to be installed in
German cinemas of various operators
but also in other countries in Central
and Eastern Europe where FTT
operates. They will be used in ongoing
projects like the digitalisation that
already started in 2009, but also in new
upcoming projects. All Solaria Series
projectors are planned to be in use by
mid 2011, a third of them for 3D
screenings.
April-June 2010TW-10
‘Academy’ Awards to DLP Cinema Team
The Academy Board of Governors
bestowed the 2009 Scientific and
Engineering Award (Academy Plaque)
to four individuals responsible for the
color accuracy of Texas Instruments
DLP Cinema projectors.
Acknowledged during a private award
ceremony, D. Scott Dewald, Greg
Pettitt, Brad Walker and Bill Werner
were recognized for their
contributions furthering the design
and refinement of the TI's DLP Cinema
projector, achieving a level of
performance which enables color-
accurate, digital intermediate previews
of motion pictures.
"As the technology leader in
producing precise DCI compliant
colors, superior contrast ratios and the
light output necessary to illuminate
the largest auditoriums, the Academy
of Motion Picture Arts and Sciences is
proud to recognize DLP Cinema for
this achievement," said Richard
Edlund, Academy Governor and chair
of the Scientific and Technical Awards
Committee. "Texas Instruments, DLP
Cinema has redefined the movie
going experience with an incredible
picture."
"For the first time in the over 100 year-
old cinema history, filmmakers and
audiences around the world are
ensured they will see colors the way
the moviemaker intended every
showing when enjoying a movie or
content projected with DLP Cinema
technology," said Nancy Fares,
business manager for Texas
Instruments, DLP Cinema Products.
The technology awarded the 2009
Academy Scientific and Engineering
Award for achievement in Color
Accuracy is exclusive to DLP Cinema
products; however, Texas Instruments
works with the world's leading
manufacturers to deliver top-quality
and related technology to a variety of
front projectors, pico projectors, HDTV
models and more. The highly reliable
and full-color imagery in all DLP
products is achieved by the fast
switching speed of the mirrors on the
DLP Chip.
"Leveraging the Cinema technology
offers our customers the ability to
manufacturer world class projectors for
home, business and classroom use with
high reliability and superb color
accuracy," said Roger Carver, business
manager for Texas Instruments, DLP
Products.
The DLP Cinema solution provides the
capability to light up theatre screens as
big as 100 feet and 3D screens as big as
75 feet, which has been a challenge
for competing technologies. As the
technology provider offering solutions
with low operating costs, DLP Cinema
remains dedicated to providing the
cinema industry with the widest
variety of technology offerings to fit
their growing needs.
DLP Cinema projection technology is
installed in over 17,000 screens
worldwide. Today there are nearly
10,000 worldwide screens that offer
DLP Cinema digital 3D technology
which uses every pixel array in the
frame for the brightest picture unlike
other technologies in the industry.
Since last year's introduction, IMAX
digital projection systems powered by
DLP Cinema have reached a total of
155 locations worldwide.
Strong Expandsinto Taiwan;Plans Office
Ballantyne Strong, Inc., a provider of
digital cinema projection equipment
and services, cinema screens and other
cinema products reported that it has
expanded its Asian distribution rights
into Taiwan for the NEC Line of digital
cinema projectors.
The company has already begun
active sales and marketing efforts in
Taiwan. Ballantyne plans to open an
office in Taiwan in the first half of
2010 to provide sales training, service
and support for all digital cinema
products sold in the territory.
Ballantyne's Asian distribution
territory now includes Indonesia,
Hong Kong, Malaysia, the People's
Republic of China, Singapore and
Taiwan.
Ballantyne president and CEO, John P.
Wilmers, commented, "Taiwan is an
important extension of our digital
projector footprint in Asia that also
provides cross-selling opportunities for
other products and services. Taiwan
has approximately 500-screens,
roughly 90% of which have yet to be
converted to digital technology. We
look forward to working with leading
exhibition companies in the region
and serving their digital cinema
needs."
ISO 9001:2008: Ballantyne also
announced that its cinema screen
subsidiary, Strong/MDI Screen Systems,
Inc., has earned International
Organization for Standardization ISO
9001:2008 certification for its quality
management standards and
procedures. The certification
encompasses all key business processes
tied to quality control and product
traceability, including record keeping,
monitoring, regular review and
evaluation of procedures as well as
methods to facilitate continual
improvement. The ISO certification
complements the Company's
significant recent capital investment in
cutting-edge technology, plant
infrastructure and staff development.
The ISO is a network of the national
standards institutes of 162 countries
with a Central Secretariat in Geneva,
Switzerland.
Wilmers, added, "we are proud to
announce our cinema screen division's
ISO 9001 certification. Strong/MDI has
been working toward this quality
standard for the past 12 months. The
certification is an important milestone
that provides a globally respected
acknowledgement of Strong/MDI's
quality standards, which should
further support its worldwide sales and
marketing efforts."
April-June 2010TW-12
Dolby Plays Red Bull’s First 3D Movie
Dolby Laboratories, Inc. provided digital
cinema mastering and technical support
for the screening of Red Bull’s first 3D
movie at the recently held 70th annual
Hahnenkamm World Cup Alpine ski
event in Kitzbühel in Austria. Filmed in
the days leading up to the celebrated
World Cup race, the new movie features
spectacular views of the famous Streif
downhill course, including 3D point-of-
view footage shot by a downhill skier,
giving a unique perspective on what it’s
like to tackle one of the world’s
toughest ski pistes.
The movie, produced by Red Bull
Media House GmbH, was shown for the
first time to invited guests in Dolby 3D
at the Red Bull Next Generation Media
event, which is designed to showcase
innovation, and celebrate Red Bull’s
participation in the Hahnenkamm
event – the sporting and social
highlight of the year in Kitzbühel.
“We were very excited to be able to
give our guests this stunning 3D view of
what is recognized as the Alpine skiing
world’s most difficult competition piste,”
said Andreas Gall, Chief Technical Officer
of Red Bull Media House. “Red Bull
gives wiiings to innovations, so when
we needed support to help us realize
the presentation of this technically
challenging project we turned to Dolby,
who we consider to be the most
innovative brand in audio and cinema.”
With only a few days to capture, edit
and prepare the footage before the
start of the Hahnenkamm event,
Dolby Production Services Group
provided digital cinema mastering of
the 3D footage captured by the Red
Bull media house team. Working on-
site in Kitzbühel, the Dolby team used
the Dolby SCC2000 Secure Content
Creator JPEG 2000 encoder to produce
a 3D Digital Cinema Package (DCP) of
the exciting action. They then
facilitated pristine digital screening of
the movie via a Dolby 3D digital
cinema system for the invited guests at
the Next Generation Media event.
“The Dolby technical team is used to
providing technical support to world
premiere screenings all over the globe,”
said Julian Pinn, Director Distribution
Services, Production Services Group,
Dolby Laboratories, “but we were all
very excited to work with Red Bull
Media House to assist with such an
unusual project. Working on location
presented a few challenges, but we
were delighted to help Red Bull ensure
everyone enjoyed an outstanding 3D
cinematic presentation of what is some
truly spectacular action.”
Invited guests were also treated to a
showing in Dolby Digital Cinema 2D
of the dramatic and awe-inspiring
feature documentary Mount St. Elias,
which follows three ski mountaineers
to the imposing Alaskan mountain in
their attempt to realize the longest ski
descent of the world.
New Silver ScreenOption from Sonic
Sonic Equipment Company took the
exclusive distributorship for the Etoniq
Silver Screen in the United States and
Canada. The Etoniq screen, made in
Asia, has been approved for use with
the RealD Cinema System.
“With the recent success of 3D movies
and our new arrangements with
Cinedigm and CBG for the Phase II
rollout, the opportunity to have a
complete one-stop package for the
independent exhibitor that includes
the silver screen is exciting”, says
Sonic’s Director of Operations Eric
Olson.
The Etoniq screen meets all codes
required for installation in North
America and comes in a steel tube that
helps insure safe delivery anywhere.
“As the demand for 3D continues to
rise we will work hard to give our
customers fast, professional service and
provide accurate delivery dates and
shipment tracking” say Olson.
Sonic Equipment Company, located in
Iola, Kansas, has become a leader in
the cinema industry’s conversion to
digital. Sonic has been servicing
independent exhibitors for over 30
years and as built a complete package
for converting 35mm booths to
digital, including PM Service,
installation, equipment choices and
financing options. Sonic Equipment
Company has also worked with
independent theatre owners from
consultation to Grand Opening on
their new theatre projects.
Sonic Equipment Company has till
now installed over 80 digital systems,
dozens of silver screens for 3D
presentations and is an experienced
installer of the RealD Cinema System.
UGC, Ymagis inPact for MassiveDigitisation
European exhibition major UGC
Group has signed an agreement with
another European service provider
Ymagis for one of the largest digital
roll-outs in recent times, outside the
US. Ymagis will act as a third-party
investor and a third-party VPF
collector. The agreement will allow
UGC's 600 screens to switch to digital
exhibition within 24 to 36 months. The
rollout calendar initially will focus on
digital projection in 3D, and
subsequently expand to complete
conversion of all theatres.
UGC is one of the leading European
cinema groups, active in France,
Belgium, Spain and Italy. It is also one
of the major players in European
cinema production and distribution.
Ymagis, on the other hand, is one of
the main third-party facilitators for
digital projection in Europe. The
company occupies a leading position
in France and is already the partner of
operators in Spain, Belgium,
Luxembourg and Germany.
The agreement will enable the
implementation of this technological
breakthrough without hindering
UGC's investment and innovation
capacities. The group's transition to
digital will thus be compatible with
the investments required to expand
and upgrade the circuit.
In view of various initiatives
emanating from the supervisory
authority and competitors, and of the
adoption by the public of 3D
projection, which requires digital
projection, the group believes this is
the right moment to optimise the
conditions of this conversion.
April-June 2010TW-14
yet in the IMAX business. This expanded
relationship with Rising Star Media, one
of the top exhibitors in the region, fuels
that interest and reinforces our cache
with Russian consumers."
Shaw Brothers’$200M DigitalUpgrade
Legendary Film company Shaw
Brothers, founders of Hong Kong’s
movie industry and shareholders of the
Shaw Studios Project – a state-of-the-
art audio post production facility –
chose Digital Projection International
for all their projector needs.
After extensive global research on the
highest-performing projectors available
today, Shaw chose the Award -Winning
TITAN series projectors. The TITAN series
has a full spectrum of light output
units, capable of producing from 1600
lumens to 11,000 lumens, while also
offering the most lumens produced
from the lowest wattage consumed of
any projector range today. From the
compact TITAN 1080p-250 to the CEDIA
Expo award-winning TITAN 1080p-Dual
3D, the TITAN line is fully HD and offers
numerous Active 3D capable displays.
Eric Stark, Chief Technical Officer, Shaw
Studios said, “we spent a great deal of
time researching all projectors on the
market and finally chose Digital
Projection’s TITAN displays based on the
compact form factor and low noise
which lends itself perfectly to the
studio environment where space is a
premium and noise levels are critical.”
Stark continued, ‘the advanced
ColorMax’ colour processing gives the
user full control over primary and
secondary colors, plus white point
control. This advanced color control
allows us to color match every
projection system in house in order to
attain a complete color science solution
at Shaw Studios. Another deciding
factor for us is the ability to use the
projector in 2D or 3D modes which
enable us to take on a wider range of
projects, as more 3D movies are
produced.”
The studios boast one of the largest,
fully sound and vibration-insulated
soundstages in Asia. They offer a full-
service color lab and digital imaging
facility with over 20 sound and editing
suites. Additional amenities in the
production facility include a 400-seat
dubbing and screening theatre,
executive and production office space,
plus workstations for visual effects and
animation design. In all, the Shaw
Studios space offers over a million
square feet of digitally-wired and
secure facilities dedicated solely to film
production and post-production.
Founded in 1989, Digital Projection
International (DPI) has been
instrumental in the development and
application of Digital Light Processing
technology by Texas Instruments for
projection systems. DPI introduced the
world’s first 3-chip DLP projector in
1997, and has since delivered expert
system engineering and world-class
customer services, thus maintaining its
position as a digital imaging pioneer.
DPI’s groundbreaking projection
research and development has garnered
the admiration of industry professionals
around the world. This has earned the
company many awards, including two
Emmy® Awards for Outstanding
Achievement in Engineering
Development by the Academy of
Television Arts and Sciences. DPI remains
the first and only projector
manufacturer to win the coveted award.
Today, DPI manufactures and distributes
an extensive line of ultra high-
performance 3-chip and single-chip DLP
projection systems. These projectors are
the reference standard for demanding
applications such as large-venue, live-
event staging, fortune 5000, education,
medical and scientific research,
command and control, digital cinema,
commercial entertainment, worship and
elite home cinema.
IMAX Expands in RussiaIMAX Corporation, and Rising Star
Media, one of Russia's leading
international exhibitors, announced an
agreement to expand their relationship
by installing two more digital IMAX
theatre systems by spring 2010. The
deal follows a highly successful run of
IMAX titles at the exhibitor's two
existing IMAX locations. Under terms of
the deal, Rising Star will add a new
digital IMAX location in Moscow, and
upgrade its existing film-based IMAX
location in St. Petersburg with an IMAX
digital projection system.
During the current run of Avatar in
Russia, IMAX theatres generated 5 per
cent of the movie's total Russian box
office on 0.3 per cent of the screens.
The two Kinostar IMAX screens, which
are operated by Rising Star Media,
have both passed the $1 million box
office mark. On other recent 3D
releases, including Sony Animation's
Cloudy with A Chance of Meatballs
and Disney's A Christmas Carol,
Kinostar enjoyed similar market
leading box office success.
"We have a long and successful history
with IMAX and it is great to see our
relationship grow to new heights in
Russia," said Shari E. Redstone,
Chairwoman of Rising Star Media. "The
incremental box office returns from our
Kinostar venues with IMAX, combined
with the growing number of Hollywood
blockbusters released in IMAX's unique
format makes the decision to expand
our relationship an easy one."
"Through our experience with a range
of 3D technologies we have learned that
IMAX 3D resonates with Russian
moviegoers, and they are seeking out
the premium IMAX experience at our
theatres," said Paul B. Heth, Chief
Executive Office of Rising Star Media.
"Our partnership with IMAX has become
very important to us as we continue to
strive to offer the best movie going
experience in our industry."
"Russia remains a key part of our
European expansion strategy," said IMAX
CEO Richard L. Gelfond. "Our strong film
slate and digital projection system
continues to drive interest from existing
partners as well as exhibitors who are not
April-June 2010TW-16
Historic ‘Beacon’ Light Beckons Cinemagoers
Moon” on all six screens. Their opening
celebrations with the 3D showing of “A
Christmas Carol” also attracted full
houses, even though the movie had
premiered several weeks before at
competitive theatres, which drew only
a fraction of the audience when it was
shown in 2D. Integrity Entertainment
Systems, LLC, an authorized digital
cinema reseller for Christie, handled the
sales and installations. Gary Engvold,
president of Integrity Entertainment
Systems, explained that his
organization supplied all the
components necessary for the complete
installation. “We recommended
Christie CP2000-ZX digital cinema
projection systems for all six
auditoriums. Two screens are equipped
for 3D presentations and, since 3D is
driving market momentum, there is an
option for a third 3D projector,” he
said. “Christie’s proven digital expertise,
along with the brightest, highest
performance projectors and the lowest
cost of ownership, make it the
projector of choice.”
Pittsfield’s Mayor James M. Ruberto
participated in the ribbon cutting
ceremony, which used 35mm film in
place of ribbon to signify the theatre’s
“cutting of the cord” with old
technology and embracing digital
cinema. He remarked, “The Beacon
Cinema complex will become the
cultural hub and entertainment center
of Berkshire County once again.
Pittsfield’s downtown is now open for
fun, families, and tourists.”
“Independent theatres serve an
important niche in the cinema
industry, since they cater to local
audiences and provide a connection
to their communities,” observed Craig
Sholder, vice-president, Entertainment
Solutions, Christie. “By working closely
with certified Christie dealers who sell,
install and service the independent
theatres, Christie can offer a broad
range of support and the most
advanced and cost-effective digital
projection solutions available.”
Georgia Theatre Selects ChristieChristie announced that its CP2000-ZX
DLP Cinema projectors will be installed
across the entire circuit of Georgia
Theatre Company, a cinema chain with
over 270 screens in 27 locations,
including Georgia, Florida, South
Carolina and Virginia. Part of
Cinedigm’s Phase 2 digital cinema
deployment programme, Georgia
Theatres plans to install over 250
Christie projection systems throughout
its circuit. Having done a significant
digital roll-out during the Year End
holiday theatrical releases in December,
and during the run up to the 3D
magnum opus Avatar, the Georgia-
based exhibitor intends to continue its
digital roll-out through out 2010.
“Service and experience with digital
equipment installations are two major
factors in our selection of Christie
digital projectors and Christie
Managed Services,” noted Aubrey
Stone, president of Georgia Theatre
Company. “We tested their units for a
year and we were very impressed. The
picture on the screen was excellent.
Along with their technology and
lowest cost of operation, Christie’s
track record of installing thousands of
screens worldwide was also an
important consideration in our
decision.”
Stone added, “Christie is the
undisputed leader in digital cinema
because they fully understand the
Christie, the world’s leader in digital
cinema projection installations, was a
star attraction at the recently
inaugurated, all-digital Beacon Cinema
complex located in downtown
Pittsfield, Massachusetts. One of the
most highly anticipated events in
Pittsfield, the new $23-million complex,
whose six screens are powered
exclusively by Christie CP2000-ZX DLP
Cinema projectors, is reviving the city’s
core. Built within a restored century-
old historic building, The Beacon
Cinema brought the excitement of the
movies back to the downtown area
after a 15-year absence.
“It took us several years to complete
the project, including the planning,
design, gutting and rehabilitation of
the existing structure. Early on, I saw
the direction in which cinema was
moving, with studios releasing
everything in digital and alternative
content emerging. I decided to take
the wider view, and go ‘all digital’
with Christie DLP Cinema projection
systems,” said Richard Stanley,
managing partner of The Beacon
Cinema. “Along with sporting events,
live concerts and special events, as well
as corporate and business activities
increasingly taking place in a theatre
environment, I see myself not only in
the cinema business but in the
entertainment industry.”
The mixed-use facility incorporates
offices, retail space and the 850-seat
Beacon Cinema, which resides over
three floors, with auditoriums on the
first and third floors and projection
booths on the first and third floor
mezzanines. It features all-stadium
rocking seats, a state-of- the-art data
network that includes security, phone,
Internet, and digital cinema distribution
from two data control rooms. There are
two concession areas, which also serve
wine and beer. They also boast all digital
concession menu boards, digital poster
cases and digital box office signage.
Stanley noted that Beacon’s opening
night was sold out, with the midnight
showing of “The Twilight Saga: New
April-June 2010TW-18
needs of the exhibitors and know how
to deliver quality products in the
fastest timetable. One of the things
that impressed me most is dealing with
the people at Christie. Not only are
they professional, but also they are a
pleasure to work with. The speed with
which we’ve been able to bring the
systems online is a tribute to Christie’s
commitment to first-rate customer
service and support.”
Third-generation family-owned
Georgia Theatre Company has
specialized in motion picture
exhibition for over 80 years. According
to Chairman and CEO, Bill Stembler,
“From our early roots to becoming
one of the top 20 circuits today, we
pride ourselves on providing our
patrons with the finest facilities,
including state-of-the-art digital
projection, stadium seating and the
best sound systems available.”
Craig Sholder, vice-president of
Entertainment Solutions at Christie
commented, “we look forward to
working with Georgia Theatre
Company as it continues to upgrade
to the world’s most preferred, and
proven, line of digital projectors.
When ‘the show must go on,’ no other
projection system meets the standards
of reliability set by Christie. We have
the right solution for every size screen
and the trained staff to resolve every
installation challenge because we
bring our own 80 years of experience
working with exhibitors, anticipating
and meeting their needs around the
world.”
Movie Palace Wyoming Chooses ChristieChristie announced that it has been
selected by Movie Palace, Inc., as the
exclusive digital cinema provider for
its new all-digital Studio City Stadium
10, a 10-screen classic multiplex theatre
in Casper, Wyoming. It is the second
Movie Palace theatre in Casper to use
Christie digital projectors. The
company has also installed the Christie
CP2000 series projectors – the world’s
most popular digital cinema projector
– in its other locations in Cheyenne
and Rock Springs, Wyoming.
“We chose Christie based on three key
criteria: reliability, brightness and
customer service. Since we built our
reputation on presenting high quality
images on the screen and providing
the best service in the community, we
depend on the flawless performance
and customer care that Christie
products and their staff provide us,”
remarked Randy Pryde, president of
Movie Palace.
Pryde noted that Movie Palace plans
to equip all their locations with
Christie DLP Cinema projectors.
“Offering the brightest and most
reliable products in the industry,
Christie greatly enhances our
customers’ movie viewing
experience,” he observed.
According to Pryde, Movie Palace
conducted extensive research on the
older, classic theatres, and then
merged the glamour and architecture
of these legendary movie theatres
with the ultimate in digital projection
technology and state-of-the-art sound
systems.
Andrew Houck, the manager of the
new Studio City Stadium 10, noted:
“We installed six Christie CP2000-ZX
projectors, three Christie CP2000-M
projectors and one Christie CP2000-SB
projector in our multiplex because
they not only project stunning images
on the screen, they also deliver the
most cost-effective digital solutions in
the industry. As well, Christie
continues to set the standards for 3D,
in both resolution and brightness. We
anticipate that we will be utilizing
these digital projectors in the future
for concerts, sporting events and
corporate activities.”
CLACO Equipment and Services, Inc.,
one of the region’s leading cinema
dealers, was responsible for the
installation. According to Vince Butler,
digital technician and installations
manager at CLACO, Christie’s strong
reputation for superior service before
and after the sale and the lowest cost of
ownership were important factors in
their decision to install Christie projectors.
“In addition to its world-class customer
support, Christie equipment is both
top notch and among the most
reliable in the industry, making our
job much easier,” said Butler. “Movie
Palace has had excellent experience in
the past using other Christie
equipment, such as Christie consoles,
automations and 35mm lamp houses,
and have found them extremely
reliable. Digital cinema is the next
frontier, and we look forward to
working with Christie to deliver the
most visually exciting movie
presentations in the industry. “
April-June 2010 TW-19
SFG Chooses Christie for SecondPhase Roll-out
Christie announced that Shanghai-
based United Circuit – a subsidiary of
the Shanghai Film Group (SFG)
Corporation – has purchased an
additional 100 Christie DLP Cinema
projectors for its second phase roll-out.
The CP2000 Series projectors are
expected to be installed in the circuit’s
theaters in China within the year. The
success of SFG’s first phase installment
of Christie projectors re-enforced its
decision to continue exclusively with
the company.
After conducting a comprehensive
and an in-depth industry analysis,
United Circuit selected the Christie
CP2000 Series cinema projectors to
kick-start its digitalization plan. Over
the last year, the Christie projectors
have been performing superbly and
delivering excellent picture quality,
while maintaining a low cost of
operation. These factors prompted
the group to continue with them for
their second roll-out. As the world’s
most popular digital cinema projector,
the Christie CP2000 Series is industry-
renowned for its sheer brightness,
resolution, color reproduction and
quality. There are currently more than
7,000 digital cinema projectors
installed worldwide, serving more
than 70% of the global digital cinema
industry.
Xu Xiaoping, general manager for
United Circuit, said: “Christie has
fulfilled its promise by delivering
reliable projectors that provide
superior picture quality. This goes
hand-in-hand with Christie’s
outstanding technical support and
services. The company’s technical team
is always responsive, ensuring that all
its digital cinema projectors operate
smoothly in our theaters. We’re very
pleased with our collaboration with
Christie and look forward to
continuing our work with them. Our
partnership with Christie continues to
ensure the quality of China’s digital
films.”
“United Circuit plays an important role
in China’s cinema market,” said Lin Yu,
vice-president, Christie, Asia Pacific.
“The second phase of SFG’s digital
cinema plan will enhance the quality
of China’s digital films. We’re very
honoured to be chosen again by SFG
to work with United Circuit. Christie
will continue providing
comprehensive support to United
Circuit and its other Chinese
customers, ensuring their smooth
transition to digital cinema.”
Barco, KerasotesPartner on LuxuryMultiplexes
Digital projection leader Barco
announces that Kerasotes ShowPlace
Theatres LLC has purchased 48 digital
cinema projectors to be distributed
throughout multiple markets. Locations
include three new multiplexes in
Secaucus, New Jersey, Minneapolis in
Minnesota and Chicago in Illinois, plus
standalone 3D installations in Denver,
Colorado and Illinois.
Kerasotes, once a large player only in
the Midwest, is now truly a coast-to-
coast exhibitor with a national
footprint. With the opening of the
new 16-screen multiplex in Chicago’s
‘Roosevelt Collection’ and a new 14-
screen multiplex in Minneapolis,
Kerasotes unveils their innovative
ShowPlace ICON Theatre design, a
multi-sensory experience of lounge,
dining and digital widescreen picture
and sound. The Chicago multiplex
opened in December 2009.
True to their name, each ICON
multiplex offers unprecedented levels
of amenities and design. In a
glamorous atmosphere reminiscent of
Hollywood, guests 21 years and older
can enjoy food and beverages in the
lounge or VIP Premium seating areas.
Additional amenities include reserved
seating, specialty foods at the
concession stand, stadium seating for
perfect viewing, and the brightest
presentations in the market with Barco
projection.
”Kerasotes’ new ICON multiplexes have
a beautiful and sophisticated urban
vibe,” said Scott Freidberg, Vice
President of Sales for Barco’s Digital
Cinema business, “and they’ve become
destination locations that encompass
movies and so much more.”
Each new Barco-equipped Kerasotes
multiplex offers both 2D and 3D
capability, using the industry’s most
sophisticated and advanced projection
equipment. Barco provides a full line of
digital cinema projectors, purpose-built
for screen sizes ranging from 12m (40
feet) wide up to 30m (98 feet).
Customers such as Kerasotes select Barco
projectors not only for their superior
image quality, but also for their efficient
power consumption, ease of use,
modular design, sealed optics, high
reliability and low cost of ownership.
”When it comes to projection and
audio, I always buy state-of-the-art
technology” said Fred Walraven,
Kerasotes’ Technical Director. “That’s
the driving force in each of these
installations, from the Barco projectors
to the QSC audio amplifiers and the
Dolby servers. The important factor is
that our customers get the best
performance and I get the best
product reliability,” continued
Walraven. “Whether it’s 2D or 3D, our
customers have a theatre experience
that’s unbeatable.”
”We are very pleased that Kerasotes
has selected Barco as their digital
cinema technology provider for these
remarkable premiere theatres,” said
Todd Hoddick, Vice President of Digital
Cinema, for Barco N.A. “Kerasotes has
a reputation for providing a customer
experience that’s beyond compare,
and now, we’re honored to provide
Kerasotes with our own expertise —
the brightest images, the highest
reliability, and the most
comprehensive levels of service and
support in the industry.”
April-June 2010TW-20
Barco, Cinema West Partner inCA’s Largest 3D Cinema
Cinema West, an independent
California exhibitor, chooses Barco DP-
2000 digital cinema projectors for
every screen in their new Palladio 16
multiplex in Folsom, California. With a
total seating capacity of 3000, built
around an efficient “green” energy
concept, the all-digital venue includes
six 3D-capable theaters.
Barco Digital Cinema announced
that California-based independent
multiplexer Cinema West has
selected Barco DP-2000 projectors
for their new Palladio 16 Cinemas
site located in Folsom, California.
Six DP-2000s are 3D-equipped, using
3D technology from RealD making
the Palladio 16 the largest single-site
3D installation in California, if not
the West Coast. The digital servers
and theatre management systems
were supplied and installed by
Dolby while the 5.1 surround-sound
digital audio system was supplied
and installed by both QSC and
Dolby.
With a current chain of 12 theatre
locations throughout northern and
central California, Cinema West has
a long history of innovation — and
the new Palladio 16 is no exception.
Each theatre in the complex offers
sports stadium seating and wall-to-
wall screens, with individual
capacities ranging from 140 to 300
seats. Installation was provided by
Theatre Equipment Construction
and Service (TECS), based in Santa
Rosa, California. “Cinema West has a
great policy of wall-to-wall screens,
wherever possible, and these screens
are enormous” said Robert
Hawthorne, Senior Technician for
TECS. “To install a 53-foot screen in
a room that’s 55 feet wide was a
challenge, but the installation went
very well and the DP-2000s certainly
fill the screens. I’m a big fan of the
Barco projectors,” continued
Hawthorne, “and the Cinema West
team has been just thrilled with
what they’ve seen. From my
standpoint, the picture is better,
they’re easier to work with, and
much easier to use.”
Nate Alchesky, General Manager for
the Palladio 16 Cinemas, commented
on the selection of Barco projectors.
“It was the quality and the ease of
use,” said Alchesky. “Once we saw the
pictures on screen, we realized that
this was the best way to go. The
picture quality is amazing, and the
install couldn’t have been simpler.
They were almost plug and play.”
Continuing with the spirit of
innovation, Cinema West is positioned
at the cutting edge of “green” theater
installations. Once final
implementation is complete in
January, the Palladio 16 Cinemas will
be able to boast the largest solar
system on the roof of any movie
theatre in the world. “Presently, our
theater in Livermore, California has
the largest solar installation of any
theater,” said Dave Corkill, Owner of
Cinema West, “but once our rooftop
installation is complete, this site will be
the largest. All the lighting products
used in the theater are LED-based.
Even the poster cases are backlit with
LED lighting, and what appears to be
neon is actually LED rope lighting. It
uses about 10% of the power. The
savings are significant,” continued
Corkill, “and our goal to be energy
efficient extends to the Barco products
as well. Barco projectors use far less
power than standard 35mm projectors,
so it all adds up, and it makes good
business sense.”
”We’re honored to have been selected
by Cinema West for their new
installation, which is noteworthy on
many levels,” explained Terri
Westhafer, Director of Business
Development for Barco Digital
Cinema. “Not only are we part of the
largest 3D installation in California,
but we also play a part in the
company’s high regard for ‘green’
energy use. This all-digital complex in
Folsom is a showplace for customers
who are visiting our Sacramento
offices. Cinema West’s high
presentation standards align with our
own, and Barco is proud to partner
with such an innovator in digital
technology.”
Barco Chosen for60th AnniversaryBerlinale
Barco Digital Cinema announced that ithas once again been chosen as theexclusive digital cinema projectorsupplier for the Berlinale’s 60thanniversary edition. The BerlinInternational Film Festival was launchedon 6 June 1951. Over the years, it hasbecome one of the most important filmfestivals in the world, with almost300,000 visitors. For this prestigious filmfestival, Barco supplies six digital cinemaprojectors from its renowned DP seriesplatform to ensure the audience seesthe highest quality movie image onscreen, exactly as the director intended.
”We are glad to be working withBarco’s digital cinema projectors for ouranniversary edition,” says BerlinaleDirector Dieter Kosslick. “We haveworked with them on the four previouseditions and know we can trust theprojectors to perform flawlessly for thefestival’s entire duration.”
”Barco is proud to have been chosenonce again as the exclusive digitalcinema projector supplier for theBerlinale,” comments Tim Sinnaeve,Market Director Barco Digital Cinema.“Barco’s digital cinema projectors offeran unparalleled image quality both in 2Dand 3D projection and the technology isrevolutionizing the cinema industry. Wefind it important to support film festivalslike the Berlinale, which make such animportant contribution to our industry asa whole.”
All of Barco’s 2K digital cinemaprojectors are based on the pioneering
April-June 2010 TW-21
Texas Digital, Sign-A-Ramain Digital Signage Pact
Texas Digital Systems Inc., and Sign-A-
Rama, the world’s largest sign
franchise, announced a partnership
naming Texas Digital as the exclusive
preferred provider of Dynamic Digital
Signage for Sign-A-Rama. Under this
partnership, Sign-A-Rama’s nearly
1,000 franchisees will greatly expand
the scope of their signage offerings to
customers by complementing their
existing line of static signage solutions
with the addition of a versatile and
engaging digital signage solution.
Texas Digital’s VitalCAST digital signage
software features an easy-to-use,
scalable platform that allows users at an
organization to manage displays at
multiple locations – from across town
to the other side of the world – either
from one central workstation or from
scattered locations across the globe.
Attentiongrabbing, professional
content can be created within the
software or easily imported into the
system and deployed in a matter of
minutes to one or more indoor and/or
outdoor LCD or LED displays. Sign-
ARama will work closely with Texas
Digital to offer its franchisees creative
design services and expertise in
managing graphics and content.
“Sign-A-Rama believes this is a great
partnership to bring the latest
technology to our store’s customers.
This partnership will insure Sign-A-
Rama’s position in the digital signage
market for the foreseeable future,”
said Dan Bonner, Sign-A-Rama Vendor
Relation Manager.
RealD SupportsKinoton’s DCPs
RealD, the 3D cinema technology
leader, is supporting DCP Digital Cinema
Projectors by offering a designated
holder for the RealD XL Cinema System.
Now RealD’s XL larger-screen
technology can be mounted fast and
easily in the front of DCP projectors. The
optical array of the 3D system is on a
rail, making it simple to slide it off the
lens to project 2D content.
With their extraordinary brightness,
Kinoton DCP projectors are perfectly
suited for brilliant 3D cinema even on
large screens. And the RealD XL
Cinema System delivers the most light
of any 3D projection technology,
enabling a 3D experience on screens
up to 24 meters (80’) in width with a
single high-performance DCP Digital
Cinema Projector – while using the
same lamp and lamp power as for 2D
presentation. A silver screen is needed
to maintain the polarization of the
right-eye and left-eye pictures.
DLP Cinema® technology from TexasInstruments, guaranteeing perfect re-production of film, time and timeagain, and ensure movie goers enjoythe highest quality film experiencewith consistent picture brightness,contrast and vibrant colors. Thanks to arevolutionary modular design, theprojectors deliver the lowest total costof ownership for a maximal ease of use.
The Berlin International Film Festivalwas organized from 11 to 21 Februaryin various venues throughout Berlin.The important venues include cinemasin Urania, Berlinale-Palast, CinemaxX 7,Delphi Filmpalast, Friedrichstadspalastand Kino im MGB.
Sigma Designs Integrates SENSIOSENSIO Technologies Inc. announced
that Sigma Designs has selected the
SENSIO 3D format decoder for
integration into its next generation of
media processors. A leading provider
of highly integrated, high-
performance system-on-chip (SoC)
solutions for entertainment and
control throughout the home, Sigma
is licensing SENSIO 3D technology to
allow set-top box, AV receiver, HDTV,
and Blu-ray player manufacturers to
provide their customers with an
optimal 3D viewing experience.
“The SENSIO 3D format is widely
known and respected for its image
quality and for its broad compatibility
with existing technologies and
infrastructures,” said Ken Lowe, vice-
president of strategic marketing for
Sigma Designs. “In developing our
new line of 3D-video capable chips,
we are incorporating many different
technologies and formats, so it makes
sense that SENSIO would be one of
the first considerations.”
SENSIO 3D is a distribution
technology that enables the
broadcast and storage of stereoscopic
(3D) content for home viewing,
transforming the conventional home
theater experience into a rich,
immersive stereoscopic experience.
Delivering true 1080p HD picture
quality, the SENSIO 3D format meets
the exacting demands of high-
performance 3D systems including the
latest HDTVs, receivers, and set-top
boxes.
“Sigma’s licensing of the SENSIO 3D
format will make it widely available
to the market in an integrated chip,
in turn enabling any manufacturer to
take advantage of our advanced
video processing algorithms,” said
SENSIO’s president and CEO Nicholas
Routhier. “We’re very proud to be
working with a leader in SoC design
and manufacture, and we look
forward to the first deployment of
the new Sigma Designs media
processor.”
April-June 2010TW-22
The partnership is claimed to be
timely, as the Digital Out-of-Home
market is strong, with the size of the
market projected to have grown 33
percent in 2009 alone, according to a
study conducted by ABI Research.
Sign-A-Rama will now be able to
better address customers’ needs for
realtime, easily modified signage
applications.
“We’ve been forerunners in the
digital signage arena for the past few
years. Many of our locations have
already been offering solutions to
their customers and now have a
complete and solid partner to
expand their offering and services
Cobb Choose Barco for Luxury TheatreBarco Digital Cinema announced that
Cobb Theatres of Birmingham chose
and installed Barco digital projectors
into its first three ‘CineBistro’ theatres
located in the Tampa and Miami,
Florida regions. For Cobb Theatres,
CineBistro is a new entertainment
concept that combines premium
dining services with luxury movie-
going and reserved seating. While
enjoying gourmet cuisine and
premium wines and cocktails,
customers can view first-run or
independent movies in their own
luxurious leather rocking chair.
Cobb Theatres, based in Birmingham,
Alabama, is a progressive motion
picture exhibitor operating 193 screens
at 14 locations throughout the
southeastern United States.
The new concept cinema chain is now
being created by Cobb Theatres across
the USA. A CineBistro consists of an
intimate lounge and restaurant area in a
boutique setting, surrounded by
multiple theatres — each seating
switcher was also installed. This
specialized switcher effectively
expands the theatre’s display
capabilities beyond movies, with the
ability to input and scale “alternative
content” formats (such as DVDs or
satellite feeds) directly into the
projector. With this addition, the
CineBistro venue becomes an
attractive option for private corporate
events and screening of live telecasts
such as boxing bouts and concerts.
According to Jeremy Welman, Chief
Operating Officer for Cobb Theatres,
Barco is Cobb’s preferred partner as his
company advances their digital
projection deployment. “Barco has
been our choice for digital cinema
projectors for several reasons,” Welman
explained. “The superior image quality,
energy efficiency, and Barco’s desire to
work closely with us and to stand
behind their products — these are the
important factors. In the CineBistro,
where we’re selling a premium dining
and viewing experience, we naturally
had to provide our patrons with the
very best image quality, just as we do in
each of our theatres. All in all, it was a
pretty easy decision for us to continue
using Barco in the CineBistros.”
Welman’s comments were amplified by
Joe DeMeo, Director of Sales for Barco’s
Digital Cinema business. “Cobb Theatres’
preference for Barco is a testament to our
quality and reliability” noted DeMeo.
“These first three CineBistros are just the
start of a very popular trend in digital
cinema and family entertainment, and
we’re honored that Barco is a part of it.”
Currently CinéBistro has locations in
Miami and Tampa and is under
construction in Colorado and two sites
in Virginia.
through our alliance with Texas
Digital,” said Sign-A-Rama President
Jim Tatem.
“Texas Digital is delighted to partner
with Sign-A-Rama to bring a digital
signage solution that will help their
customers communicate more
effectively,” said Dennis Davidson,
Texas Digital president and COO.
“Through VitalCAST, our partnerships
with hardware vendors such as NEC,
Samsung, LG and Dell, and our
installation and support capabilities,
Texas Digital offers Sign-A-Rama
franchisees a turnkey solution that
greatly complements their static
signage solutions.”
between 80-100 customers. After dining,
the tables are rolled back and patrons
enjoy a movie in what Cobb Theatres
describes as a true ‘private Hollywood
movie screening experience.’
When designing the CineBistro concept,
Cobb Theatres chose to go ‘premium’ in
every way possible, with digital
projection and sound as a key
component. After carefully evaluating
their projector options, Cobb Theatres
selected Barco as their CineBistro
projector provider. As a long time Barco
customer, Cobb Theatres was familiar
with the superb quality, high efficiency
and proven reliability of Barco digital
cinema projection systems.
With Texas Instrument’s DLP Cinema
technology at the core, Barco DP-1500
and DP-2000 projectors were installed
in the first three CineBistro venues,
enabling Cobb Theatres to offer
customers both 2D and 3D movies
with ease. In addition, for the Hyde
Park in Tampa, Florida, CineBistro, a
Barco ACS-2048 alternative content
April-June 2010 TW-23
Oculus3D, a company focused on film-
based 3D projection technology,
announced its first product, the OculR
system, a low-cost 3D lens and print
format for the installed base of 35mm
movie projectors. The OculR system
eliminates the need for exhibitors to
purchase a new digital system to play
3D films. The OculRsystem also does
not require exhibitors to pay per-seat
or per-show royalty fees. The OculR
lens provides exhibitors with a 3D
solution that works with all standard
35mm projectors, delivering superb
quality film-based 3D presentations
that are equal to or better than more
costly digital options. The OculR 3D
system consists of the OculR lens for
the theater’s 35mm projector, a “silver”
movie screen and low-cost plastic
frame linear polarizer eyewear,
delivering the finest 3D image at an
affordable price. The OculR lens can
be installed rapidly, eliminating
theater downtime and providing a
minimum brightness of 6 foot
lamberts, which equals or exceeds the
brightness of most digital and single-
Oculus3D Arrives,on Film!
The expected has finally happened. Even as a significant section of the movie exhibition
industry, particularly in Hollywood, had been looking at Thomson-Technicolor for its much-
touted film-based 3D projection systems, the other stakeholder – who was playing it rather
low but steady – came to the fore recently. Oculus3D, who made the first wave at ShowEast
2009, recently announced its first offering. Know what it is:
projector film systems to ensure
flawless 3D performance for exhibitors.
”The team at Oculus3D has created a
cost-competitive and projectionist-
friendly 3D film-based delivery system
that bypasses the problems of the
resurrected, discredited, and obsolete
‘over/under’ film-based approach of the
80’s that plays inside-out images much of
the time,” said Lenny Lipton, president
and chief science officer, Oculus3D.
Economic Benefits to TheaterOwners and Studios: Exhibitors and
studios will benefit equally from the
OculR system because the industry is
unable to meet current audience
demands for 3D presentations as the
number of 3D feature releases will
continue to grow in 2010. The motion
picture industry is missing out on
millions of dollars of revenue because
of a shortage of 3D screens.
”We see a substantial worldwide market
for the OculR 3D system and estimate
some exhibitors could save $150K per
screen in equipment, 3D software
conversion and installation costs while
the studios could add a meaningful
number of new 3D screens in 2010,” said
James Marsh, analyst, Piper Jaffray & Co.
“Exhibitors who have been concerned
about the cost of switching over to a
digital cinema system now have an
interesting new option to consider.”
Oculus3D estimates that it can get
theater owners up and running with the
OculR system (the lens and upgraded
movie screen) for approximately
$20,000 - $25,000 per screen. This is 85 –
90% less than investing in a digital
projector approach.The OculR attachment
TECHNOLOGY
April-June 2010TW-24
The OculR print format is created by applying an
algorithm to the final digital intermediate file to produce
a master negative. Release prints are then made using
standard lab techniques and costs are identical to making
a standard print, making conversion from 2D to 3D a
seamless process for the labs, exhibitors, and studios.
”Our product stops the forced marriage between digital
and 3D as many exhibitors are being pushed into replacing
workhorse film projectors to take advantage of the boom
in 3D movie releases,” said Marty Shindler, founder and
CEO, Oculus3D. “OculR will help meet movie patron
demands for 3D while saving an estimated $150,000 to
$175,000 in per screen set up costs and eliminate hardware
and software ongoing maintenance expenses.”
”There is a pressing need for 3D film systems on a global
basis for two key reasons including a higher volume of
3D theatrical releases as well as the high import duty
costs associated with digital projectors in many parts of
the world,” said Albert Mayer Jr., executive vice-
president and chief technology officer, Oculus3D. “With
OculR, exhibitors can help meet movie patron demand
for 3D.”
Oculus Mission: Low Cost, High Value
The mission of Oculus3D is to offer quality 3D
projection at lower cost with higher profits for
exhibitors and studios. The principals, Lenny Lipton,
Al Mayer, Jr. and Marty Shindler bring to the company
and to the market a combined experience of a good
100 years in the movie business. This should spell good
for the company, its business model and the exhibition
community worldwide.
Lenny Lipton is a Fellow of the Society of Motion Picture
and Television Engineers (SMPTE) and holder of 41
granted and over 50 pending patents that are central to
the 3D projection system. Lipton is the inventor of the
ZScreen, a polarization modulator that enables a single
DLP projector to show 3D movies. The ZScreen is the
device that is at heart of the most widely used 3D digital
projection system, the Real D system.
Albert Mayer, Jr. is a veteran camera designer and
Academy Award and Prime Time Emmy Award recipient,
each for Scientific and Technical Achievement. His
industry leading cameras include the Panaflex
Millennium XL camera system, Panavision’s current
flagship film product and the Genesis, the first full
chipped digital camera system.
Marty Shindler, a 30-year film industry veteran, has held
key executive positions at 20th Century Fox, Lucasfilm’s
Industrial Light & Magic, Kodak, MGM and the
entertainment practice at the erstwhile Coopers &
Lybrand (now PriceWaterhouseCoopers). For over 14
years, The Shindler Perspective, Inc. consulting practice
has provided a range of advisory and analytical services
to companies in the entertainment and entertainment
technology industries regarding visual effects, camera
technology and 3D stereoscopic presentation.
The Fleet Center often runs six
different films per day, requiring very
different audio settings for each
performance. Program material varies
widely, from the Center’s primary focus
on educational material to pure
entertainment IMAX presentations
such as The Rolling Stones - At The
Max, Chronos, and Stomp Odyssey.
With the new design, levels and other
settings can now be programmed well
ahead of time, ensuring both
smoother operations and spontaneous
elements including announcements,
inserts and customized for walk in/
walk out music via iTunes.
Two benefits of using the film industry’s
standard audio production system for
automated playback are giving film
mixers the ability to use the facility as a
sort of ultimate real time surround mix
facility, and, for composers and
producers, a more efficient way to
transfer tracks and stem mixes directly
to the theater for test screenings. In
the typically crazed, last minute
environment caused by a director’s
need for music and soundtrack
changes, this theater-as-mix-stage
capability removes an important level
of uncertainty for film producers.
World’s First Imax Dome Sounds Big
Rebirth of a Seminal Theater
Cinema is growing really big- visually and aurally. Driven by a passion to better the best and powered
by technology that continues to push the frontiers of innovation to fascinating levels. In tune with
this cinematic order, the Reuben H. Fleet Science Center, home to the world’s first, and San Diego’s
only, IMAX Dome Theater, is celebrating the completion of its state-of-the-art renovation. Featuring a
unique 6.1 surround sound system designed by QSC plus ProTools HD 3 Accel playback, the audio
system design may presage a new era in theater sound systems. TW reports:
Equally crucial to delivering an audience
experience unerringly faithful to the
director’s vision is the 6.1 surround audio
delivered by the world class audio system
designed by San Diego-based Michael
Krewitsky of Pro Sound, Inc., solely
around QSC Audio components.
Interestingly, the “6” in this unique
surround setup has earned the
nickname ‘The Voice of God’ and refers
to speakers placed at the very top of the
dome. What drives it all? Four Basis
Controllers (922AZ and 914),
commanding six DCA 1644 amplifiers
and two DCA 3422 sub amplifiers that
drive six SC-424-8F 4-way dual 15-inch
full range speakers and four SB-7218
dual 18 subwoofers. According to the
designer, the combination renders
whisper quiet to thunderous dynamics
and exceptionally accurate audio
playback.
The 6.1 surround system install
comprised:
• Two Basis 922az controllers
• Two Basis 914 controllers
• Six DCA 1644 amplifiers
• Two DCA 3422 sub amplifiers
• Six SC-424-8F 4-way dual 15-inch
full range speakers with custom
horn pattern
• Four stock SB-7218 dual 18-inch subs
• Pro Tools HD 3 Accel for Mac
Barry Ferrell, QSC’s Senior Director of
Cinema Solutions, explains the theater’s
hallmark level of accuracy with the
reason why the company viewed the
achievement as mission-critical: “QSC
Audio has long been the mainstay in
movie theater power amplification
because of our reputation for reliability
and, to some extent, transparent
sound. But some of our more
demanding customers have become
increasingly unhappy with their older
speaker systems because film producers
have been raising the bar for what
needs to be reproduced accurately in
theatrical releases. That pushed us not
just to enter the theater speaker market
but to do so with a very high bar in
mind.”
TECHNOLOGY
April-June 2010TW-26
That forward leaning strategy, and a reputation for
exceptionally close working relationships with
consultants, gave QSC Audio the edge to provide the
amplifier, processing, and speaker solution for the
“flagship dome of its type on planet earth,” states
Michael Krewitsky.
“QSC was the place to go because the products, first of
all, sounded the best, and they were the most responsive
company as far as coming back and saying ‘yes, we’ll
build you what you want,’” John Young, A/V specialist
for the Center.
Although there were significant cost efficiencies in the
purchase, John adds, “cost savings wasn’t the first thing
on our list. We wanted the best thing we could possibly
get. QSC Audio has rock solid gear.”
The decision to go with QSC wasn’t a spur of the
moment choice for the renovation team. Over the
course of two years, John and Mike carefully compared
audio systems and capability from every major player in
the industry.
Krewitsky explains: “This is another reason why QSC got
it, is because the company has really been focusing on
the cinema speaker business - speakers for actual movie
theaters. And these are a specialized version of their
cinema line. This is theater stuff that’s adapted especially
for surround and IMAX. QSC has been really pushing
the envelope on this kind of new technology.”
How did the job turn out for Pro Sound? “We’ve
become aware that several people who have heard this
newest IMAX have stated it’s easily the best sounding
IMAX theater in the world.
Unfortunately, I don’t think that, paired with the fact the
finished audio installation cost the facility owners 15
percent less than some other IMAX theaters, is the good
news you might think it would be,” Krewitsky remarked.
QSC Cinema Sales Director Francois Godfrey adds
another dimension of the dilemma his customers face:
“Industry observers point out that if theater owners
don’t exceed the level of quality people experience in
their own home theaters it’s a recipe for declining
theater attendance. Since there’s every reason to believe
the audio challenges from the film community won’t get
any easier, we saw establishing a clear lead in accurate
reproduction as a strategic necessity.”
Ferrell adds, “If you’re marketing to owners competing
on exceptional theater experiences, there’s really no
point offering prosaic ‘me too’ solutions.”
Continuing on the business need at the core of QSC’s
cinema speaker vision, Ferrell admits not every theater
owner now believes better-than-prosaic audio quality is
a business necessity. “But there’s substantial agreement
among theater industry analysts that it’s just a matter of
time before the combined hammer of slimming margins
and attendance declines force a change,” he asserts with
concern.
The highly acclaimed German film and
media research institutions Fraunhofer
Heinrich Hertz Institute (FHHI), and
Institute of Digital Media Technology
(IDMT) opened their new ‘Tomorrow’s
Cinema’ with the premiere of
Germany’s first 180-degree short film
‘Orlac reloaded.’ Tomorrow’s Cinema is
a showroom created on the premises
of FHHI with high-resolution digital
180-degree panoramic projection. The
core of this innovative technology is a
180-degree screen installed by
Kinoton, and an IOSONO 3D sound
system from the IDMT itself.
The Heinrich Hertz Institute pursues
information technology research and
development. The core competencies
of HHI are in the areas of Photonic
Networks and Systems, Mobile
Broadband Systems, Photonic
Components and Electronic Imaging. In
the field of Image Processing, HHI was
significantly involved in the
development and standardization of
the H.264/AVC video coding method
and its usage for mobile services. HHI’s
video codecs and crypting solutions for
DVB-H are in use all over the world.
Ilumenau-based IDMT, on the other
hand, conducts applied research in the
field of digital media and works on
leading projects and topics in the field
of audio visual applications. Besides
sound solutions for home and
professional users, software
technologies for analysis and
characterization of multimedia content
as well as audiovisual applications for
medical engineering are being
developed. Furthermore interactive AV
Kinoton Initiative
180-Degree Screenat FraunhoferTechnology Cinema is going places. Two of the biggest and potential players in global
(cinema) technology domain – Kinoton and Fraunhofer Institute – have come together for yet
another technology exploit. Having done with digital cinema install some time back, the two
German technology referral majors have this time done the 180-degree screen IOSONO 3D
sound system at the institute.
applications for entertainment and
knowledge management and the
design of architectures for digital
online distribution are in the institute’s
research focus.
The special screen consists of a glass
fiber fabric specifically designed to
support high-resolution digital
projection of up to 6K. In addition, the
material is characterized by a high
acoustic transparency that brings the
IOSONO surround sound system to
bear. The installation of a 180-degree
screen is always a challenge since the
vertical and horizontal tension of the
screen must be very carefully attuned
to each other in order to achieve an
immaculate semi-circular curve. Any
deviation from the correct curve may
awfully disturb the image geometry.
Given their long experience, though,
the Kinoton service technicians
achieved a flawless result even with this
unusual and demanding screen
installation. The 180-degree images are
projected by six high-resolution video
projectors, each reproducing a 30-
degree section of the complete picture.
The images overlap in a small area,
creating a seamless panoramic image.
‘Orlac reloaded,’ an adaptation of the
movie classic ‘Orlac hands’ from 1925,
is the first 180° short film produced in
Germany. The panoramic shooting,
utilizing a special camera rig with six
HD cameras, took place within the
scope of the PRIME research project in
which eight leading companies and
research facilities develop future
technologies and viable business
models for the introduction of 3D
media consumption in cinema, TV and
video games. PRIME is an abbreviation
of Production and Projection
Techniques for Immersive Media. Apart
from the Fraunhofer Institutes HHI and
IIS and the Academy of Film and
Television (HFF) ‘Konrad Wolf’ in
Berlin, Kinoton GmbH is among others
also part of this project funded by the
German Federal Ministry of Economics
and Technology BMWi.
TECHNOLOGY
April-June 2010TW-28
Hollywood is suddenly finding itself in
a 3D frenzy- caught in the pre- and
post-Avataric ballyhoo that is likened
by some to the filmy scenario ushered
in by The Wizard of OZ during late
1930s-early 1940s - so much so that the
Titanic director’s magnum opus movie
is called the seminal movie for the new
digital 3D genre. The trend,
dominantly seen at the moment in the
heartland of global cinema, has
actually been impacting the very
manner Hollywood churns out movies.
• One- it is throwing off-track
subsequent new movie releases,
relegating them to a number two
spot on their opening weekend
itself. The best case to prove this
was Mel Gibson’s Edge of Darkness
whose collections were $13 million
lower than Avatar’s $30 million.
The movie was slated as The Patriot
hero’s celebrated return to the big
screen but it ended up netting
much lower than expectations at
$17 million.
• Two- Big time moviemakers are
actively contemplating conversion
of their 2D releases into 3D digital.
This is best exemplified by Warner
Whither Movie Entertainment?
A New ‘Avatar’ of Cinema...!
The 3D cinema, per se, is nothing new to the world. It’s
rather a century old tryst with human passion for
entertainment. What began with the Power of Love in the
1920s – the earliest confirmed 3D movie –now appears to
be the ‘power of passion’ for the format, albeit in the
digital model, that is seeking to change the specs of
modern movie exhibition business. With moviemakers in
Hollywood changing their gear and guard for an
energised journey into 3D realm, the global cinema is
taking a new Avatar, or so it appears. A TW perspective.
Avatar sinks Titanic record scaling all-
time high collections...
Avatar shatters all box-office records;
grosses over $2.55 billion and still
counting...
Avatar bags top honours at the
Golden Goble Awards – ‘Best Motion
Picture’ and ‘Best Director’ awards...
Avatar sweeps honours at the International
3D Society Awards ceremony...
Avatar awarded the first Lumiere
Award as the ‘Live Action 3D Feature
of the Year’ by the International
3D Society...
Avatar glows in Oscar glory...bags
three awards – Best Visual Effects;
Best Art Direction and
Best Cinematography awards...
There may be more such exclamations
before this piece is read in print.
– By Bhavanashi Ramakrishna
S P E C I A L F E AT U R E
April-June 2010 TW-29
Bros.’ decision to convert their
remake of Clash of Titans from 2D
to 3D digital, and push its release
by one more week from its
originally scheduled March last
week. The 3D digital version of the
remake is now slated for April 2.
• Three- There is an apparent digital
congestion that- despite the
increased rapidity of 3D digital
roll-outs by exhibition chains,
there are more 3D digital movies
than the cinemas can take. A
situation which can actually undo
the box office effect so ambitiously
sought after by the studios!
Disney’s Alice in Wonderland is
scheduled to hit the big screen on
March 5, followed by Dream Works
Animation’s How to Train Your Dragon
for March 26 release, and Warner Bros.’
Clash of Titans for April 2 release. That
these movies are stacked up for almost
back to back releases with fewer than
4000 screens in the US and few more
outside, and the North American screen
count – let alone the other global
markets – is very unlikely to go up
drastically in time for these release, one
or more of these movies are bound to
struggle for adequate screen space,
indicate reports from Hollywood.
“With movies in 3D digital suddenly
becoming big money spinners
Hollywood studios are cramming them
into the theatres despite knowing there
aren’t enough screens available to give
those movies fullest possible run,” says
a media agency report. The American
movie exhibition apex body National
Association of Theatre Owners (NATO)
itself admitted to the intriguing
situation explains the scenario. The
year 2010 is already slated for as many
as 19 three-D digital movies that
include Disney’s Toy Story 3, and Dream
Works’ Shrek Forever After and
Megamind. Peaking the crescendo of
3D excitement would be the 17
December outing of Tron Legacy and
Yogi Bear 3D digital movies by which
time the Americas are likely to have
around 5000 3D screens, with another
800 to 900 3D screens outside.
To beat the apparent shortage of 3D
screens, Hollywood, particularly the
studio-trio in question now, is releasing
2D versions of its latest ventures so that
their revenues wouldn’t fall short.
On the tangent, the studios and their
3D champions are ebullient about the
current 3D growth graph from what it
was a couple of years ago. Clash of the
Titans is billed to get at least 50 per
cent more 3D screens than the 800
screens Warner Bros. got for its earlier
3D flick ‘Journey to the Centre of the
Earth,’ two years ago. Similarly Dream
Works’ How to Train Your Dragon, will
get double the number of screens from
that of its earlier 3D outing Monsters vs.
Aliens. The excitement is that the
‘Monsters’ netted $198 million from
about 1000 screens, and the ‘Dragon’ is
getting twice that number, so its box
office would swell that big, if not more.
That the moviegoers had been found
to be willing to shell extra bucks for a
3D digital movie, studios are more than
enthused on making 3D digital movies.
Probably, the hitherto-forgotten, if
not ignored, fact is that increased
pace of 3D roll-out also leads to
cluttering of digital screens, and most
often adjacent one another- in which
case two 3D digital movies would be
released in two adjacent screens and
they end up cutting into each other’s
pie. This is exactly the NATO
spokesperson, and many other
observers infer. Regal Entertainment
CEO Amy Miles recently told his
company investors that most Regal
multiplexes (will) have two or more
3D screens. The world’s largest movie
exhibition company with around 500
3D screens now, expects to have
about 1000 more by the end of this
year which clearly means
juxtaposition of 3D auditoria. So,
competition against one another –
often on the same premises – is pretty
much in the offing. So, getting back
to square one?
That Avatar collected around $700
million till now in the Americas and
more than double that figure –
around $1.8 billion – internationally,
both the studios and equipment
manufactures had been pushing for
increased roll out of 3D digital,
exactly the way they did for DCI-
compliant 2K digital deployment
worldwide. Strengthened by some
sound financing and comfortable
payback business models in place,
this might seem a very profitable
proposition in the immediate term,
but how long would be this joy
party?
S P E C I A L F E AT U R E
April-June 2010TW-30
The Asian Scenario
It may not be grossly different in most
parts of the world, though each of
those have their local ‘rules of the
game’ helping somehow balance the
show. China – billed as the single
largest cinema market outside the
Americas – is reported to have around
700 3D digital screens (another
unconfirmed report put this count to
be 900) out of the total supposed
digital screen figure of over 2500. It is
closely followed by Japan with over
150 3D screens; Singapore and South
Korea with about half the figure each;
India with about 60 3D screens; and
Hong Kong some 10 screens lesser than
India. The other mature movie markets
like Malaysia, Thailand and Philippines
where 3D and animation account for
big time entertainment have been
reported to have seen significant jump
in the number of 3D screens.
Except Singapore, which is largely
Hollywood-driven market, all other
Asian markets have their own domestic
content which is predominantly either
in film or 2D format.
A case in a point is the controversy
around the Chinese’ reported
curtailing of the very Avatar’s
screening to facilitate nationwide-
release of a biopic on the great
Chinese philosopher Confucius. That
the Chinese government denied the
reports and clarified that the movie
was taken out of only the 2D cinemas
and the 3D version was not disturbed
obviates the forces and factors that
influence cinema entertainment in the
region. In about six weeks of running
before the controversy, the movie had
grossed about 400 million Yuan
(around $50 million), a record of sorts
for Chinese box office.
Singapore had been methodically
ushered into the 3D revolution with
some bigger stakes in their docks. The
State-owned Media Development
Authority (MDA), as part of its policy-
driven-mission to convert the country
into a holistic digital entertainment
hub, took the country’s exhibition
industry by its stride and pushed in the
3D. Thanks to the MDA efforts- that
the country’s largest exhibitor and the
hitherto-defiant Golden Village Group
got convinced with the 3D digital,
meant that the city-state’s industry as a
whole endrosed the 3D cinema
domain.
India, on its part, responded well to the
3D digital call and rolled out as many
as 60 screens in time for the Avatar
outing. Though still largely
fragmented, the Indian exhibition
industry - led by the multiplex circuits
and some aggressive independent
exhibitors - is forging ahead with a
high degree of enthusiasm. However, it
is the domination of domestic content
vis-a-vis that of Hollywood, and the
seemingly high conversion costs that
are apparently hampering the pace of
installs. (Read separate story in TM:
Indian Cinema in New Avatar)
The global movie exhibition industry,
overall, appears once again in for an
intriguing situation. For the last decade
or so – since the birth of digital cinema
phenomenon in 1999 – the industry
had been through the rigours of
transformation and defiance for digital
(including the DCI-compliant) model.
Now, it’s the 3D digital. On the tangent,
that the film-based exhibition
champions – led by Thomson-
Technicolor – have come back with
their own 3D exhibition model as a
‘cheaper alternative’ to digital 3D, it’s
indeed getting intriguing.
Whither movie entertainment?
IMAX Corporation and TwentiethCentury Fox announced thatAvatar, crossed the $35 millionmark in gross box office receipts atIMAX theatres throughout the Asia-Pacific region. The IMAX releasegenerated $35.2 million from 37IMAX screens in 10 countries duringthe movie’s Asia-Pacific run tillFebruary 10. Most IMAX screens inthe Asia-Pacific region which isclaimed to be the company’s fastestgrowing market have grossed over$1 million each. To date, the IMAXrelease of Avatar has generated anestimated global total of over $170million from 262 IMAX screens.
Asia-Pacific market honours for IMAXversion of Avatar are shared by:
• Hong Kong – $2.9 million fromtwo screens
• Taiwan – $2.3 million from twoscreens
• Japan – $4.3 million from fourscreens
Imax Avatar Shows up Big in Asia
• Australia/New Zealand - $6.3million from six screens
• Korea - $5.1 million from fivescreens
• China – $11.3 million on 13 screens
“This incredible box officeperformance represents the strongconsumer demand for The IMAXExperience in the Asia-Pacific market,which is very encouraging as wecontinue to focus on expanding theIMAX network and brandinternationally,” said IMAX CEORichard L. Gelfond. “This success has
triggered an increased level ofinterest in the IMAX theatrebusiness throughout the region.We believe the remaining run ofAvatar, as well as the rest of ourHollywood slate and mainstreamChinese films that are scheduled tobe digitally re-mastered for theIMAX network in the region, willcontinue to drive that interest.”
“The international distributionteam at Twentieth Century Fox hasdone an exceptional job ofincorporating the IMAX brand intoits marketing strategy, and it hasclearly resonated with Avatar fansin the region who are seeking thebest way to experience JamesCameron’s revolutionary film,”added Greg Foster, Chairman andPresident, IMAX FilmedEntertainment. “Many IMAXtheatres are still operating at ornear full capacity, and we’relooking forward to continuedsuccess during the weeks ahead.”
S P E C I A L F E AT U R E
April-June 2010 TW-31
Reel Entertainment LLC – a joint
venture formed by Dubai-based realty
giant Emaar Retail LLC and Singapore-
based premier entertainment provider
Cathay Organisation Holdings Ltd –
unveiled recently in Dubai what is
obviously the second largest multiplex
in the world by screen count. A 22-
screen grandiose cinema multiplex,
World’s Second Largest Cinema
Cinema Feastin Middle East
Dubai – the nerve centre of property development in the Middle East, and the cynosure of
global property planners and abettors – now has yet another ostentatious statement.
Probably, the best of all, in cinematic parlance! World’s most ostentatious, and only seven-
star hotel, world’s tallest commercial tower, a cityscape of bizarre architectural models, and
now, one of the world’s most grandiose, and Asia’s biggest cinema multiplex! A very
unbecoming statement for the realty h(e)aven that it might seem in its own right, Dubai has
now joined the big cinematic league with a bang.
A 22-screen cinema multiplex, with an Imax large-format theatre! That itself is a big
statement. An exclusive boutique style Picturehouse meant for art movies, a luxurious
Platinum lounge, and world-class sound and projection- bringing them all is the coming
together of two major entertainment groups from two parts of the world. A TW essay.
with an aggregate seating capacity of
3000, and an exclusive art movie
house, besides a Platinum Class lounge
and cinema.
This, coming from and for a region that
had hardly seen the cinematic glitters
as comparable with that of the Western
or Eastern world! Just as Providence
would have it, the ‘Middle East medley’ The Dubai Mall night view: Colours & Dreams
S P E C I A L F E AT U R E
April-June 2010TW-32
is now ‘mid-way’ between the world’s
largest in the West and the hitherto
second largest in the East. The Spanish
exhibition major Kinepolis’ 33-screen
multiplex in Madrid continues to be
the world’s largest while the Golden
Screen Cinemas’ 18-screen Mid-Valley
multiplex in the Malaysian capital of
Kuala Lumpur was second largest, till
this Reel Cinemas emerged like a
phoenix from the dunes of the Middle
East desert.
It is not only the second rank screen
count that makes the Dubai Mall Reel
Cinemas stand out. There are features
more than one that makes it so. It
unveiled the first THX-certified
cinemas in the Gulf. It introduced to
the region the Cathay Cinemas’
signature model ‘The Picturehouse’ – a
dedicated moviehouse to screen
critically acclaimed art movies. It also
elevated the regions cinematic
grandeur by highlighting its
cinemafare with four ultra-luxurious
Platinum Movie Suites.
The Picturehouse has its own unique
identity which is epitomized in its logo
designed in a 16:9 ratio that
symbolizes the commonly used aspect
ratio between the height and width of
cinematic framing. The logo reflects a
sense of independence and
uniqueness which are often associated
with movies and thereby creates an
identity- the soul and essence of The
Picturehouse. It is also exclusive in the
sense that it seats just over 100 patrons
at a time and has its own dedicated
lounge which provides an ideal setting
for moviegoers confabulate the
moviefare over light refreshments.
The Platinum Movie Suites are draped
in ultimate cinematic luxury. The
experience begins in a private lounge
fitted with marble service counters,
signature designer furniture and
ambient lighting, providing the
perfect backdrop for a relaxed drink or
bite to eat before your movie. The VIP
treatment continues when the patrons
are ushered into suite and sink into a
supple reclining chair, conveniently
equipped with a side table and button
for personal butler service throughout
the movie.
The highlight of multiplex is the
introduction of Hollywood’s chic design
concept, which embodies a modern
cinema experience. The seats are
ergonomically designed with the widest
legroom for utmost comfort, while the
overall ambience is reminiscent of old
Hollywood glamour intelligently
blended into contemporary interiors
using modern materials. Extensive use
of mirrors and subtle patterns used to
Enthusiam all around: The patron-filled lobby during the first week(left); The waterfall attraction in the mall atrium
The Dubai Mall, turninig dreams intoreal(i)ty: A grand view at night (top);
a dream-like entertainment fare in themall atrium (above); the fancy-swathed
cinema lobby at level-one (right),Observe the desert symobolism manifested
by the digital singage board
S P E C I A L F E AT U R E
April-June 2010 TW-33
create shimmering surfaces and
reflections while mood lighting adds a
touch of drama to the interiors, and in
the lobbies a starry sky effect
accentuates the ambience.
The lobby floors are clad in a
geometric pattern of toned grey
stone, and the columns form stars on
the floor to sweep up in an
interpretation of the theatre drape.
The lounge seating areas are
upholstered in rich fabrics and leather.
The Platinum Movie Suites and The
Picturehouse have special lounges
furnished with plush leather seating
and modern design.
The sound and projection system are
world-class with THX certification –
done by German projection major
Kinoton – and comprises all the
exhibition formats, i.e. film, digital 2D,
3D, and an Imax large format.
Probably, no other cinema venue in
the region, if not the world boasts
such distinction.
Reel Cinemas is spread over an area of
110,000 sq ft with direct access from
Grand designs with Classical Cinema fare: One of the multiplex auditorium (top); the box office on level three (top right);the hallway on level four (middle); and the Classic Picturehouse lounge (bottom)
S P E C I A L F E AT U R E
April-June 2010TW-34
the car park on both levels- that makes
it one of the most access-easy
entertainment venues.
Reel Cinemas is billed to become a
popular attraction that further adds to
the leisure components of the mall
including Dubai Aquarium,
Underwater Zoo, Dubai Ice Rink, The
Waterfall, and soon-to-open KidZania
and SEGA Republic.
With 12.1 million square feet, the
Dubai Mall is the world’s largest
shopping and entertainment
destination, and has widest spectrum of
retail and leisure choices for visitors. Of
the 1,200 retail outlets in the mall, over
900 are already open. There are a total
of 160 F&B outlets offering an array of
options for visitors and 14,000 parking
spaces. Besides the multiplex, the other
big entities include the now world
famous and world’s tallest tower Burj
Dubai. There would be one more
multiplex with eight screens – as part of
the Dubai Marina Mall – in the heart of
the city’s master-planned waterfront.
“Entertainment and leisure attractions
have become an integral part of mall
developments. The extensive leisure
portfolio of the mall has become a social
magnet for families, and the opening of
Reel Cinemas will further add to the
overall entertainment offerings,” Nasser
Rafi, Chief Executive Officer, Emaar Malls
Group was quoted as saying.
‘Reel Entertainment will redefine the
big-cinema experience by employing
the latest digital audio-visual
technology and offering superior
service standards including on-line
ticket booking facilities, automated
kiosks and box-office counters,’ said
Emaar Malls CEO Rashid Zakaria Doleh.
For Cathay Cinemas, the venture is
doubly prestigious in that it is the first
Southeast Asian exhibitor to expand
beyond the region’s shores and get
into the world’s most hotly contested
realty space. More, it sought to make
its mark with its signature
Picturehouse, and add more glitters
with Platinum Class and 3D digital etc.
Sasy Suhaimi Rafdi, Chief Executive
Officer, Cathay Organisation: “When
we were developing the Reel Cinemas
brand, there was no doubt that we
would introduce The Picturehouse as
one of its key unique features in
Dubai. The Picturehouse was
Singapore’s first arthouse cinema. It
has been showcasing cutting edge and
critically acclaimed films since 1990
and has played an important role in
Singapore’s cinematic history.
“Boasting a multi-cultural population,
Dubai is the perfect fit for an arthouse
cinema with a wide audience of varied
nationalities and cinematic
sensibilities,” Rafdi said, adding, “we
hope it will play an important role in
the development of UAE cinemas.”
The Platinum Club Class: The ultimate movie suite (left), the luxurious lounge one (middle) and two (left)
Technology Entertainment at its best: The swanky lobby in level two (top- observe the digital signages);the grand atrium (above); and the giant acquarium in the mall (left)
S P E C I A L F E AT U R E
April-June 2010 TW-35
It’s a digital age. Cinemas operating in this age are apparently driven by digital technologies.
Most cinemas today brace up digital technology to offer a compelling cinematic experience-
both inside and outside the auditorium. In a business where there are hardly any shortcuts,
an ingenious ways of capturing the patrons’ moviewatching imagination is to weave a
mesmerizing ambience. Digital Signage is one. Here are two cinemas that have done exactly
the same. A TW snapshot.
Digital Design-age
Bow Tie Cinemas recently completed
digital signage installations at three
of its theatre locations. Bow Tie
chose Texas Digital’s signage solution
and content management software,
VitalCAST, for its theatres at
Annapolis Mall 11 in Annapolis,
Maryland; Movieland 6 in
Schenectady, New York; and
Movieland at Boulevard Square in
Richmond, Virginia.
Each of the theatre locations
incorporated 40-inch Samsung flat-
panel LCD displays. The Annapolis
Mall 11 installation includes five
displays, while the installation at
Movieland 6 includes two and the
Movieland at Boulevard Square
includes five. Texas Digital’s
VitalCAST software runs on each
screen, allowing prices, imagery and
other features on the displays to be
updated automatically and
simultaneously from Bow Tie’s
corporate office with a few clicks of
the mouse. All the screens are in the
concessions areas of the theatres,
with static menu information
interspersed in between the LCD
displays. Bow Tie Cinemas is using
the displays with VitalCAST video
content to push nontraditional food
fare and upcoming events, activities
and promotions.
Bow Tie Cinemas founding partner
B.S. Moss opened the Centurion
Theater in Times Square in 1936,
which was the first motion picture
theatre built exclusively for the
exhibition of talking motion
pictures. Bow Tie Cinemas currently
owns and operates 145 screens in 18
locations in New York, Maryland,
Connecticut, Colorado and Virginia.
“We chose Texas Digital’s VitalCAST
due to the flexibility of its operation
and ease of updating. The interface
is very easy to use and update, and
can be changed at a moment’s notice
from our home office,” said Bow Tie
COO Joe Masher. “The industry is
trending toward digital signage; the
excitement that it creates with eye-
appealing graphics and animations
will hopefully allow us to see our
sales increase significantly at stands
where we’ve installed the signage.”
“This was an interesting project
because two of the theatres we were
installing did not have digital signage,
while our solution replaced another
company’s digital signage solution at
the third,” said Texas Digital COO
Dennis Davidson. “This posed a
unique challenge in ensuring that our
standards and Bow Tie’s expectations
were met for all three locations. We
are pleased the installations look great
and look forward to working with
Bow Tie again.”
Bow Tie Cinemas Glows in New Appeal
C I N E M A S Y S T E M S
April-June 2010TW-36
Texas Digital has completed its
VitalCAST Digital Signage software
installation at Marcus Theatres’ new
Midtown Cinema in Omaha, Nebraska.
Marcus Midtown Cinema, which opened
in November, is a one-of-a-kind, four-
level, five-screen entertainment
destination located in Midtown Crossing
at Turner Park. Texas Digital is a
worldwide leader in digital signage
technology, and is Marcus Midtown
Cinema’s digital signage provider.
For the Marcus Midtown Cinema
installation, Texas Digital’s software is
installed on 26 LCD screens in a variety
of sizes as digital menu boards, box
office signage, promotional boards
and wayfinding signs near the
theatre’s escalators. Six of the displays
are LG’s new 38-inch stretch displays,
which are located at each auditorium
entrance. The concessions and box
office displays will all be updated
automatically via an interface between
VitalCAST and Marcus Theatres’
Radiant Systems point-of-sale (POS)
system. VitalCAST will give the theatre
more signage options than static
signage allows, such as dayparting and
announcing specials, and the ability to
adjust pricing and other features on
multiple screens simultaneously from
Milwaukee. Previously, Texas Digital
worked with Marcus Theatres on a
VitalCAST installation in their Majestic
Theatre just outside Milwaukee.
“The dynamic changes we can make
because of Texas Digital’s innovative
digital software are very exciting,” said
Bob Menefee, vice president of
advertising, marketing and food &
beverage. “Not only can we quickly
adjust menu prices, we can also create
and market dining specials quickly and
efficiently. Utilizing the other LCD
screens located at strategic positions
throughout Midtown Cinema, we can
easily communicate to customers the
amenities we feature on each floor
and highlight the unique services our
in-theatre dining concept, Cinedine,
offers our guests, which is available in
all five auditoriums.”
“We are pleased to have completed
another successful digital signage
Marcus Midtown Scores New Marks
installation for Marcus Theatres,”
said Dennis Davidson, president and
COO of Texas Digital. “We look
forward to continuing our
relationship with Marcus at their
other theatre locations and further
expanding their migration to digital
signage.”
A division of the Marcus Corporation,
Marcus Theatres is the seventh largest
theatre circuit in the United States.
With the opening of Marcus Midtown
Cinema, the company currently owns
or operates 668 screens at 54 locations
in Wisconsin, Illinois, Iowa, Minnesota,
Nebraska, North Dakota and Ohio.
C I N E M A S Y S T E M S
Health and Safetyat Work
Projection Series - XXVIII
Since the beginning of this series of
technical features on film projection
in cinemas, health and safety issues
have been detailed many times
earlier as and when they arose
independently. Here is one more
focused effort - without unnecessary
duplication - on the principles which
underlie these specific instructions, in
the context of the responsibilities of
all projectionists.
General health and safety must
always be the projectionist's first
priority. It is largely a matter of
attitude - the projectionist should be
ever vigilant, spotting possible
hazards, rather than reacting to
accidents. Staff members are
expected to contribute to the health
and safety of the workingHealth and safety notices at work - how often do you need them?
In Part-II of Unit VII published in the last issue, we discussed various issues in the film
projection job that come with legal implications, and how projectionists need to handle
them, besides their actual job of movie projection. This time, in the third and concluding
part of this Unit, we delve into the various aspects of health and safety at the projection
workplace and elsewhere in the cinema premises involving the projectionist. Some of the
vital points are discussed here.
C I N E M A S Y S T E M S
April-June 2010TW-38
environment by assessing
risk, controlling risks and
implementing procedures to
deal with threats to health
and safety. They are also
expected to coordinate the
health and safety of the
working environment by
coordinating both the risk
assessment and the control of
risks.
Many theatres and cinemas
will have a 'Hazard List'
which details all unsafe areas
of the cinema and areas for
special attention. Examples of
such hazards could be unsafe
stairs that are awaiting repair
or loose tiles that require attention.
All members of staff including
projectionists must pay close
attention to this list and keep it
updated regularly.
In many cinemas there are no strict
service rotas, rather it is more of a
case of tidying up along the way. For
example, brushing, vacuuming and
mopping up after spillages will
ensure a safe working environment
for all members of staff as well as the
general public.
Sometimes responsibility for safety can
extend to some less than obvious
areas, such as electrical appliances
(Kettles, portable heaters, microwaves,
cookers etc.). Theses are checked by
PAT (Portable Appliance Testing), but
you should keep an eye on the state
of such appliances all the time.
flammable, causing many fires and
subsequent deaths in the early days
of cinema. Today's film does not
support combustion but many of the
rules still apply, particularly in the
projection room.
If the projectionist takes a watchful
walk around the cinema or complex
where one works, it would be quite
obvious how much stress is put on
fire safety in the building. Every
room the projectionist enters would
normally have some type of fire
appliance visible.
The projectionist would make out
that these appliances are important
items in the cinema's license
conditions, and that any
interference with them is
tantamount to violating the
law. Most cinemas will have a
service contract with the firm
who supplied the
extinguishers, fire blankets,
hose reels, etc. but since
their representatives visit the
site once or twice a year it is
often up to the projectionist
to keep a watchful eye on
appliances meanwhile. Sadly,
members of the public are
often responsible for
interfering with fire fighting
equipment. Unfortunately,
the appliances cannot be
locked away until required as
they must be in ready to use all the
time, so it also becomes necessary
on part of the projectionist that he
must watch for any missing or
discharged units.
When were these last checked?
Cinemas are places where the public
are admitted, so they are covered by
some very stringent fire regulations.
Many of them go back to the days of
nitrate film which was highly
Extinguisher safety pin & pressure gauge
Use a guide like this to ensure that you use the right extinguisher
C I N E M A S Y S T E M S
The power supply cabin cannot be adumpyard for waste material
The power supply cables need tocovered and protected
April-June 2010 TW-39
In time, the fire extinguishers fall
below specification, either by use or
by leaks. Many extinguishers will have
indicators which normally show green
while they are in specification, or red
when out of specification. Some have
locking pins which have to be
removed before operating them.
In the event of the projectionist
noticing an empty fire extinguisher or
any fire appliance that had been
tampered with, he must immediately
report it to his superior. He should not
assume that someone else will.
Understandably, it will be hard to
forgive oneself if there is an
emergency and someone is injured or
killed because the appliance
malfunctioned, and the projectionist
even after noticing it just ignored it.
If cinema carries spares for
faulty extinguishers, the
projectionist must ensure that
every replacement
extinguisher is of the correct
type for its situation.
Different types of
extinguisher are used for
different types of fire. He
must take time out to study
each type of extinguisher and
how to use it correctly. When
there is a fire there may not
always be time to read the
instructions, and if there is
smoke about, one may not be
able to see them at all.
The projectionist's job is not
always confined to mere projection
room alone. As a member of the cinema
operations, or even otherwise, it
becomes part of his duty to ensure that
no one panics in the event of an
eventuality. He should not run, shout fire
or do anything else which may cause
alarm. He should rather communicate
speedily with a senior member of staff
and use any prearranged 'code words' to
indicate the situation.
Every cinema must have an agreed
procedure to follow if there is a
outbreak of fire or some other event
requiring evacuation of the building.
The projectionist must be aware of the
procedure and ensure that he partakes
in any fire drill organised by the
management. There are of ten special
quickly as possible to shut down the
show and light the auditorium so the
audience can see the staff indicating
the correct exits.
Under no circumstances the
projectionist must attempt to tackle an
outbreak of fire on his own, without
informing others first. Only then
should he attempt to extinguish the
fire, if he feel safe in doing so. Failure
to follow these two rules may result in
nothing but overcome with fumes,
putting his life in danger and allowing
the fire to spread.
Conversely, the projectionist
should not panic and run
from the building - he has a
responsibility for the safety of
all the cinema patrons. The
most important rule is: to act
quickly and not to panic.
Threat every alarm as another
drill, and all should be well.
In every organization, and
particularly one where there
are members of the general
public visiting on a regular
basis, staff members including
projectionists must learn first
aid procedures. This includes
all aspects of first aid such as
resuscitation and treatment of
burns and spillages on the skin. To
assist the need for first aid treatment
for skin problems, projectionists must
be aware of all paints, white spirit and
sulphuric acid used within the
building and know how to treat a
victim who has come into contact with
liquid.
Above all, the projectionist should be
very familiar with the health and
safety policies in force at the cinema.
These policies must be posted in a
prominent place, but it is unwise just
to take them for granted. The
projectionist must be able to act
quickly and appropriately in an
emergency there is no time to read
notices or manuals.
(To be concluded)
extinguisher safety pin & pressure gauge
tasks that the duty projectionist has to
carry out over and above those of the
floor staff, such as playing a fire record
or announcement tape to alert all the
other members of staff that there is a
situation which requires a certain drill
to be brought into action. Any such
tape must be kept in special place and
be ready for immediate use. In a
multiplex, the auditoria are often not
all evacuated at the same time, to
prevent congestion in some areas of
the building, and strains on the staff.
It is common to evacuate first the
auditorium closest to the area of the
fire and under the greatest threat,
guiding the public to an exit which
steers them clear of any danger. The
projectionist on the job must follow
the duty manager's instructions as
C I N E M A S Y S T E M S
April-June 2010TW-40
REVIEW
8-10 December 2009Hong Kong Convention & Exhibition Centre, Hong Kong
CineAsia 2009 - the 17th edition of
Asia's premier convention and
tradeshow on motion picture
exhibition industry - was held from 8-
10 December at the Hong Kong
Convention and Exhibition Centre,
Hong Kong. Hoping to beat the
recessive pressures and be in tune with
wider participants' demand, the three-
day convention has moved back to
Hong Kong, after almost a decade.
Notwithstanding the global market
pressures, the event went into in-
depth deliberations on digital cinema
and 3D, besides other important
subjects- but with a prime focus on the
Chinese exhibition industry that had
been one of the biggest promises of
the global industry.
The three-day
convention
opened with a
focused seminar on
'A New Dimension
to China,' that had
as its panellists
Michael Archer,
vice-president-
Doremi Digital
Cinema; Yang
Buting, Chairman-
China Film Distribution and Exhibition
Association; Dr. Man-Nang Chong, CEO-
GDC Technology; Y.C. Chu, Deputy
General Manager, Media Asia Group;
and Dr. David Chung, Head of
Information Technology Operations-
Hong Kong Cyberport Management
Company Ltd.
The opening day had product
presentations from United
International, Paramount Pictures, and
Universal Pictures, followed by the
post-lunch opening of the tradeshow.
The evening had two movie screenings-
Walt Disney's 'The Princess and the
Frog,' followed later in the night by
Paramount Pictures' 'Up in the Air.'
Day two opened with a joint seminar
by CineAsia and ICTA (International
Cinema Theatres' Association). The
technical session titled 'A Digital
Update,' had the latest industry
updates brought to the forum by Tony
Adamson, manager-worldwide
April-June 2010 TW-41
customer marketing, DLP Cinema; Ray
M. C. Seok, general manager-Digital
Cinema of Korea; Ranjit Thakur, CEO,
Scrabble Entertainment Pvt. Ltd.,
India; and Naoshi Yoda, managing
director, T-Joy, Tokyo.
In the following ICTA session, Andrew
Robinson of Harkness Hall provided
'screen facts,' Bill Mead of DCinema
Today, and Jason Brenek of Disney
presented the 3D dynamics, while
Michael Archer of Doremi dwelt on
maintenance of digital cinema servers.
The day-two evening was marked by
trailer presentations from the footages
of the much anticipated Avatar,
besides Alice in Wonderland, How to
Train Your Dragon, and Shrek Forever
After on the Imax 3D digital format.
The much sought after programme of
the event of Awards Nite this time, like
the previous editions, had a distinct
profile. The CineAsia Exhibitor of the
Year Award for 2009 was conferred upon
the Golden Screen Cinemas. Irving Chee,
chief general manager of the Malaysian
cinema major received the award.
The most interesting award this time,
however, is the DLP Market
Achievement Award, given to
Sathyam Cinemas of India. The
Chennai-based cinema operator had
been making big waves in Indian
exhibition business for some time now,
and has ambitious expansion plans.
Besides, Sunder Kimatrai, of 20th Century
Fox has been chosen for the 'Distributor
of the Year' award, while Media Asia
Group Ltd. Chairman Peter Lam was
honoured with the Producer of the Year
award. The 'Asia-Pacific Copyright
Educator Award' was presented to noted
producer Raymond Wong.
Overall, CineAsia 2009 deliberated on
the issues facing the industry at large
and explored some directions to the
global and the Asian industry for a
recession-proof march ahead.
Christie Dolby GDC
Harkness Screens JBL - Crown Kinoton
Monee Osram Philips
Qube Cinema USL Vista
April-June 2010TW-42
PREVIEW
March 15-18, 2010Paris & Bally’s • Las Vegas
The 36th edition ShoWest - themost coveted platform of globalmotion picture industry - will unfoldfrom March 15-18 at Paris andBally's in Las Vegas. The industry'sbiggest event, being held while theglobal motion picture industry isbreaking free of the recessivepressures, is also seeking to addressthe industry with what it calls a'truly global' approach.
According to the neilsen film group,the producers of the event, in thecurrent digital era of simultaneousmovie releases across the globe, theworld is getting smaller by the hour,and exhibition business, whether inthe Americas, Europe, or Asia, isfaced with more or less same set ofissues such as piracy, digitaldeployment and customerexperiences- which is why ShoWestis also changing in tune with thetimes to embrace the new era ofunified global industry.
More, given the pressures ofrecession, and challenges thathave been commonly impactingthe industry across the world, thisyear's ShoWest assumes moresignificance than its preceding
events in that it has new, biggerissues to address- so much so toattract industry leaders andaspiring entrepreneurs who havebeen seemingly cutting theirbusiness plans. The organizers
Bobby Chetia of TheatreWorldat ShoWest 2009
April-June 2010 TW-43
anticipate that participation atthe four-day event will increasefrom the currently represented63 countries to an even greaternumber, and will have sizeablenumber of delegates.
ShoWest normally attracts over5,000 motion picture industryprofessionals from across varioussegments of the industry as thishappens to be the biggestopportunity to preview majorstudio and independent featurefilms slated for summer 2009release; see exciting andentertaining product reels ofupcoming releases and mostimportantly network with topindustry executives at thesponsored events.
With the industry apparentlytransitioning towards digital, andthree-dimensional digital withalternative content regimes, issueslike digital cinema, 3D, and 3Ddigital are surely going to takecentrestage of debates anddeliberations during the four-day
convention. More, that the industrymovements are taken by therecession at a time when thetechnological norms and standardsgot almost fully defined, andbusiness lines are taking a clearershape, the convention assumes thefocal point of the global industry.
That the event also hosts one of thelargest trade shows of the cinemaindustry products, services andconcessions items from across theworld, ShoWest has a clear bearingon the industry movements throughthe year. Every year, it attractsaround 250 exhibitors to thetradeshow. However, in thechanged scenario, the number ofexhibitors and the productsshowcased is to only be seen.
This year's Awardees at ShoWestinclude:
• Bell Stembler, Georgia TheatreCompany -ShoWester of the Year
• Sam Worthington - ShoWestMale Star of the Year
• Katherine Heigl - ShoWestFemale Star of the Year
• Jerry Bruckheimer - ShoWestLifetime Achievement Award
"With billions earned worldwideat the box office, JerryBruckheimer has broughtoutstanding entertainment tomovie going audiences for fourdecades," said Robert Sunshine,managing director of ShoWest2010. "From the action-packedPirates of the Caribbean trilogy, tothis summer's Prince of Persia,Bruckheimer continues to bringaudiences into movie theaterseats and provides a movie goingexperience like no other. We arehonored to present JerryBruckheimer with the ShoWest2010 Lifetime AchievementAward."
Prince of Persia - a Bruckhemer-Walt Disney joint productionblockbuster would be one of themovie premieres at the ShoWest.
FLOOR PLAN
April-June 2010TW-44
1better LLC .................................. 511
ACS Enterprises ......................... 1416
Adaptive Micro .......................... 1802
Advanced Graphics ..................... 707
Advanced SpecialtyLighting ...................... 1924/1934
AFP Advanced Food Products .... 121
American Cinema ..................... 1429
American International .............. 713
American Licorice ..................... 1206
American Paper Optics ............. 1834
Artech ........................................ 1527
Baer And Associates ................. 1825
Ballantyne Strong ........... 1205/1210
Barco-Digital Cinema ................ 1931
StudioSystems ........................... 2021
Bass Industries ........................... 1734
Big Sky Industries ...................... 1621
Blair Communications ................. 811
Boca Systems ............................... 507
Bright Star Systems .................. 1421
C Cretors & Co ........................... 1301
Caddy Products .......................... 1520
California Seating + Repair ...... 1535
Camatic Seating ........................ 1915
Changzhou Yuyu Electric LightAppliance ............................. 1327
Christie ....................................... 1705
Cinedigm Palace ............... PALACE 1
Cinema Concepts ......................... 409
Cinema Equipment & Supplies ... 1500
Cinema Hosting ........................... 612
Cinema Lighting Corp ................. 316
Cinema Scene Marketing ........... 814
Cinema Solutions ......................... 722
Cinema Source ........................... 1623
CinemaLive ................................ 1914
Cinemeccanica ................. 1505/1604
City Scape Service ....................... 909
Coast To Coast Cleaning ............. 732
Color Ad Packaging .................... 706
Component Engineering ............ 803
ConAgra Foods .......................... 1217
Connie's Pizza ............................ 1115
Continental Concession ............... 910
Crosspoint Fabrics ....................... 522
CRU-Dataport ............................ 2017
D-BOX Technologies ................. 1225
Data Display USA ...................... 1634
Datasat Digital ................. PALACE 4
DigitAll ......................................... 829
Dippin' Dots ................................. 533
Dolby ........................ 1605/PALACE 6
Dolphin Seating ........................... 735
Doremi Cinema ......................... 1921
Durkan Hospitality ..................... 824
DVA Architecture ....................... 832
Eisenberg Gourmet .................. 1316
Embedded Processor Designs .... 1627
Eomac ......................................... 1614
EyeCatcher Global .................... 1334
F'REAL! Foods .............................. 532
FBD Frozen BeverageDispensers .............................. 733
Filmack Studios ............................ 609
Fishbeck, Thompson,Carr & Huber ......................... 503
Fox Blocks ................................... 1722
Franklin Designs ........................ 1700
Funacho ........................................ 602
GDC Technology ........................ 1824
Gehl Foods ................................... 633
Gold Medal Products ................ 1821
Goldberg Brothers ...................... 807
Golden Link .................................. 620
Golterman & Sabo .................... 1317
Great Western Products ............ 702
Greystone International ............ 615
GS Alimentos De Mexico,S.A. de C.V ............................ 1010
Harkness Screens ...................... 1814
High Performance Stereo ........ 1702
Hollywood Movie Money ............ 734
Hurley Screen .............................. 413
E X H I B I T O R S @ SHOWEST 2010Hytex Industries ........................ 1813
Immerz ......................................... 506
Inorca Seating .............................. 514
International CinemaEquipment ........................... 1928
International CinemaTechnology ........................... 1228
International ElectricalWire & Cable .......................... 504
Iosono ........................................... 714
Irwin Seating Company ............. 903
Jack Roe USA ............................. 1507
JBL / CROWN .............................. 1601
JKR Partners .............................. 1200
Jolly Time Popcorn ...................... 724
Kernel Seasons ............................ 410
Kinoton America ............. 1613/1712
Kinoton GmbH ................ 1615/1716
Konica Minolta .......................... 1913
La Universal ImpresoraS.A. de C.V. ........................... 1008
Lancer Corporation ................... 1214
Lavazza Premium Coffees ....... 1426
LBI Boyd Wallcoverings ............. 1728
Lighting Images Technology ..... 1220
Little Giant Ladder Systems ..... 1121
Long Range Systems ................... 528
Look3D ....................................... 1021
MARS Snackfood US ................. 1521
Martek Contracts ...................... 1515
Menusoft Systems/Digital Dining ......................... 806
Meyer Sound ........... 1835/PALACE 7
Microvision Optical 3D ................ 515
Mobiliario SA de CV .................... 821
Modular Hardware ................... 1912
Molinos Morelia, S.A. de C.V. ... 1012
Moviead ..................................... 1635
Moving Image Technologies ..... 1729
Mundocolor Iluminacion ........... 2019
National Association OfConcessionaires ..................... 411
National Ticket Co ...................... 921
April-June 2010 TW-45
EVENT CALENDER
SPRING 2010
MARCH 15-18
SHOWEST,LAS VEGAS, USA
www.showest.com
MARCH 16-18
FRAMES,MUMBAI, INDIA
www.ficci-frames.com
SUMMER 2010
JUNE 21-24
CINEMA EXPOAMSTERDAM, HOLLAND
www.cinemaexpo.com
JULY 23-25
CINEMA TODAY,CHENNAI, INDIA
www.cinematoday.in
AUGUST 15-19
AUSTRALIAN INTERNATIONALMOVIE CONVENTION
GOLD COAST, AUSTRALIAwww.movieconvention.com.au
AUGUST 23-26
BIRTV,BEIJING, CHINAwww.birtv.com
SEPTEMBER
KINO EXPO,ST. PETERSBURG, RUSSIA
www.kinoexpo.ru
AUTUMN 2010
OCTOBER 11-14
SHOWEAST,FLORIDA, USA
www.showeast.com
WINTER 2010
DECEMBER 7-9
CINEASIA,HONG KONG
www.cineasia.com
Nebraska Popcorn ....................... 625
NEC Display Solutions ...... PALACE 5
Nestle USA .................................. 902
Nevada Film Office ................... 1202
Oculus3D Corporation ................ 611
Odell's ........................................ 1425
Omniterm Data Technology ...... 721
Oreck Vacuum ............................. 928
Osram Sylvania .......................... 1820
Packaging Concepts .................... 412
Paradigm Design ....................... 1501
Paragon International .............. 1626
Partner Tech ................................ 911
Pelican Productions ..................... 728
PepsiCo Foodservice ................. 1805
Philips Specialty Lighting .......... 1216
Photo Research ......................... 1827
Poblocki Sign .............................. 1226
Popcornopolis ............................ 1726
Posiflex ......................................... 715
Pot O' Gold .................................. 502
PowerDirect Marketing ............. 529
Preferred Popcorn ...................... 315
Premium Performance Sound .... 1204
Prime Ticket .............................. 1020
PrintTixUSA ................................. 923
Proctor Companies ................... 1715
Progressive - Flooring Services .. 828
Promotion In Motion Companies .... 720
ProSTAR Industries ...................... 521
Qsc Audio Products ................... 1509
Qube Cinema ............................. 1230
Radiant Systems .......................... 703
Rainbow Symphony ................... 1724
RCM Media .................................. 915
Ready Theatre Systems .............. 414
Retriever Software ..................... 726
Reward Wall Systems ................. 711
Reynolds & Reynolds ................... 709
RGS International ..................... 1015
Richardson Oilseed ...................... 725
Ricos Products Company ........... 1300
Roney International .................. 1720
Royal Paper Corporation ............ 604
Schneider Optics ........................ 1721
Schult Industries ........................ 1329
Schwan's Food Service .............. 1022
Seating Concepts ....................... 1321
Shaw Hospitality Group ............. 520
Simply Right ................................. 614
SinoCinetech .............................. 1324
SLS Audio ..................................... 415
Slush Puppie ................................. 623
Solo Cup Company ....................... 513
SolSource Logistics .................... 1735
Sony Electronics ............... 1129/1905
Soundfold ..................................... 508
Stadium Savers .......................... 1800
Stadium Seating Enterprises ... 1524
Stein Industries ............................ 603
Summit Food Enterprises ......... 1600
Superior Quartz Products ......... 1629
Surveillance Technologies ......... 1534
Taste Of Nature ...................... 1516
Taylor Company ........................... 421
Technicolor 3D ........................... 1725
Tempo Industries ......................... 321
Texas Digital .............................. 1417
Texas Titos ................................. 2012
The Cawley ................................ 1526
The Coca-Cola .................. 1305/1405
The Environmental Media ......... 510
The Hershey Company ............. 1328
The ICEE Company ...................... 621
Theatre Lighting Associates .... 2015
TW – TheatreWorld
Therma-Stor, ............................... 505
THX ........................................... 1829
TicketPro Systems ..................... 1434
Ticketsoft ................................... 1014
Titan Technology ......................... 626
Tivoli .................................. PALACE 2
TK Architects ............................. 1815
Tootsie Roll Industries ................. 712
Ultra Stereo Labs ...................... 1221
Universal Cinema Services ....... 1528
Vantage / Glassform ................... 608
Variety -The Children's Charity ofthe U.S.A .............................. 1625
Ventura Foods ........................... 306
VIP Cinema Seating .................. 1229
Vista.............................................. 815
Vistar ............................................ 627
Vivian Company......................... 632
Weaver Popcorn .......................... 729
Weldon Williams & Lick .............. 607
White Castle Food Products ....... 932
Will Rogers Institute ................... 114
Wulf Installations ........................ 813
XpanD ........................................ 1529
ZhetaPricing Chile S.A ................ 610
April-June 2010TW-46
entertainworld
Germany, they say, where many an innovation germinate. While it is obvious when it relates to
engineering automobiles, it also appears pretty much veritable when it comes to
entertainment. For, many innovations in entertainment - both in audio and video - took seeding
in the rich industrial European nation. What's more, it is characterised by a boastful culture
that dominated and influenced human endeavours in diverse domains all through its history.
Cinema, in its own right, had been a big gig in Germany, as the country's cinematic genius
manifested both in development of innovative product systems and exhibition mechanisms
as well as the movie genre. Kinoton, Isco, Schneider, Ernemann…so on and so forth. Topping
the league, however, is Kinoton, the projection equipment manufacturer and innovator.
Recently, the projection major achieved yet another laurel, installing XL digital cinema install.
This, time, for a change, TW brings you, a brief photo essay of the cinemas and the install.
German XLlence!
April-June 2010 TW-47
entertainworld
Taking into the hoopla of run up
to the 'Avatar,' two German
cinemas have broken new
grounds in exhibition exploits
when they installed XL 3D
digital projection systems to
power up their giant screens
with the Avtar impact. The two
cinemas in the process set a 'big'
precedent for other German
cinemas for the big time
entertainment.
The Cineplex Marburg and the
Cinedom Koeln multiplexes are
the first German cinemas that
offer their audience large scale
digital 3D Cinema. In the run-
up for the theatrical release of
'Avatar,' both cinemas have
been equipped with Kinoton
3D2P systems, each operating
with two DCP Digital Cinema
Projectors that bring brilliant 3D
pictures even to large screens.
The first Dual 3D installation had
taken place in the Cineplex
theatre, a modern seven-screen
multiplex in the city of Marburg.
The Kinoton 3D2P system
features two coupled DCP 30 L D-
Cinema projectors with 6500
Watt Xenon bulbs and integrated
Dolby 3D color filter wheels
provide stereoscopic cinema with
an image size of impressive 17 x
7 meters (51 x 21ft.). A Dolby 3D
server does the content
streaming job to the projector to
beam the same on the mega
screen.
A second Dual 3D installation
featuring the same equipment
April-June 2010TW-48
entertainworld
offers a great three-dimensional
cinema experience at the largest
auditorium of the Cinedom
Koeln, a renowned 14-screen
multiplex in Cologne. The screen
here measures an imposing 22 x
10 meters (66 x 30 ft.) - that's
more than four times the screen
size of the other 3D auditorium
at the Cinedom, the BlackBox,
which Kinoton had equipped
with an XPanD 3D system
featuring shutter glasses in 2007.
The audience was very
enthusiastic on the image quality
and 3D effect at the large screen
and spontaneously broke into
applause when the first pictures
of 'Avatar' were shown.
Cineplex CEO Gerhard Closmann
- who already had a positive
experience when he had the first
Kinoton / Dolby 3D cinema
system installed in another
auditorium four months ago, in
the run-up to Ice Age 3 release -
is all the more pleased with the
performance of the new dual
installs as well. Buoyed by the
audience response to his new
offerings, he complemented
Kinoton on the fine picture
quality. "Because for me, a silver
screen was completely out of
question, especially with so
large a screen," he said, adding,
"after all, we'll keep on
exhibiting 2D movies as well,
both in digital and 35mm, and I
set a high value on uniform
image illumination."
The Dolby 3D system works
perfectly well with normal
cinema screens, and the dual
version with two extra-bright D-
Cinema projectors guarantees
brilliant high-contrast 3D
pictures even in an XL format.
April-June 2010 TW-49
ProductionWarner Bros.
DirectorLouis Leterrier
StarringSam Worthington,Liam Neeson
GenreAction, Fantasy
Clash of the Titans
Production20th Century Fox
DirectorShawn Levy
StarringSteve Carell,Tina Fey
GenreComedy
Date Night
ProductionLionsgate
DirectorTyler Perry
StarringTyler Perry,Sharon Leal
GenreComedy, Drama
Tyler Perry’s Why Did I GetMarried Too?
ProductionScreen Gems
DirectorNeil LaBute
StarringLoretta Devine,Peter Dinklage
GenreComedy
Death at a Funeral
ProductionLionsgate
DirectorMatthew Vaughn
StarringNicolas Cage,Aaron Johnson
GenreAction, Adventure
Kick-Ass
Production20th Century Fox
DirectorOliver Stone
StarringMichael Douglas,Shia LaBeouf
GenreDrama
Wall Street: MoneyNever Sleeps
A glimpse of movies coming to Asia this summer or later…
F U T U R E R E L E S E SA
April-June 2010TW-50
ProductionCBS Films
DirectorAlan Poul
StarringJennifer Lopez, AlexO’Loughlin
GenreComedy, Romance
The Back-up PlanProductionFocus Features
DirectorThomas Balmes
StarringPonijao, Bayar,Mari, Hattie
GenreDocumentary
Babies
ProductionWarner Bros.
DirectorSylvain White
StarringJeffrey Dean,Zoe Saldana
GenreAction, Thriller
The LosersProductionParamount Pic-tures
DirectorJon Favreau
StarringRobert Downey Jr.,Gwyneth Paltrow,
GenreAction, Adventure
Iron Man 2
ProductionRogue Pictures
DirectorJorma Taccone
StarringWill Forte,Ryan Phillippe
GenreAction, Comedy
MacGruberProductionSummit
DirectorGary Winick
StarringAmanda Seyfried,Christopher Egan,
GenreRomance
Letters to Juliet
ProductionNew Line Cinema
DirectorSamuel Bayer
StarringJackie Earle Haley,Rooney Mara
GenreHorror
A Nightmare on Elm StreetProductionSony Pictures
DirectorJoe Thomas
StarringKenny Chesney
GenreDocumentary,Music
Kenny Chesney: Summer in 3D
F U T U R E R E L E S E SA
April-June 2010 TW-51
F U T U R E R E L E S E SA
Production Universal Pictures
DirectorRidley Scott
StarringRussell Crowe,Cate Blanchett,
GenreAction, Adventure
Robin Hood
ProductionDreamWorks
DirectorMike Mitchell
StarringMike Myers,Cameron Diaz
GenreAnimation,Comedy, Fantasy
Shrek Forever After
ProductionNew Line Cinema
DirectorMichael Patrick King
StarringSarah JessicaParker, Kim Cattrall,
GenreComedy, Romance
Sex and the City 2
ProductionWalt Disney
DirectorMike Newell
StarringJake Gyllenhaal,Ben Kingsley
GenreAction, Fantasy,Adventure
Prince of Persia:The Sands of Time
ProductionUniversal Pictures
DirectorNicholas Stoller
StarringJonah Hill,Russell Brand
GenreComedy
Get Him to the Greek
ProductionColumbia Pictures
DirectorHarald Zwart
StarringJackie Chan,Jaden Smith
GenreAction
The Karate Kid
ProductionWarner Bros.
DirectorJimmy Hayward
StarringJosh Brolin,John Malkovich
GenreAction, Thriller
Jonah Hex
ProductionDisney Pixar
DirectorLee Unkrich
StarringTom Hanks,Tim Allen,
GenreAnimation, Comedy
Toy Story 3
April-June 2010TW-52
F U T U R E R E L E S E SA
A D V E R T I S E R S ’ I N D E XCompany Name Page no. Product Email / Website
ProductionFilmkraft
DirectorAnurag Basu
StarringHrithik Roshan,Kangna Ranaut,
GenreThriller / Romance
Kites
ProductionTips Music Films
DirectorKookie V Gulati
StarringVivek Oberoi,Aruna Shields
GenreAction / Thriller
PrinceProductionPercept Picture
DirectorPriyadarshan
StarringDarsheel Safary,Atul Kulkarni
GenreChildren / Drama
Bumm Bumm Bole
ProductionEros Entertainment
DirectorSajid Khan
StarringAkshay Kumar,Deepika Padukone
GenreComedy
Housefull
The next issue of TheatreWorld is our Summer Special. It will be promoted at CinemaExpo - Amsterdam.The last date for advertising orders is 20 May 2010. Email [email protected]
Amar AV TM-28 Screens [email protected] TW-54 Walls & Ceilings [email protected] / www.anutone.comBarco TM-3 Projectors [email protected] / www.barco.comBlue Star TM-5 Cooling Systems [email protected] /
www.bluestarindia.comChristie Digital TW-7 Projectors [email protected] / www.christiedigital.comCinema Today TM-27 Tradeshow [email protected] / www.cinematoday.inDatasat Digital TW-5 Audio Processor [email protected] /
www.datasatdigital.comDLP TW-13 Digital Cinema [email protected] / www.dlpcinema.comDolby TW-9 3D www.dolby.com/3dcinemaDoremi TW-3 Digital Cinema [email protected] / www.doremicinema.comGalalite TM-11 Screens [email protected] / www.galalitescreens.com
Harkness TW-25,27 Screens [email protected] /www.harkness-screens.com
HDIL TM-2 Cinema [email protected] / www.hdilbroadway.inHi Tech Audio TM-9 Sound [email protected] /
www.hitechaudiosystems.comKinoton TW-15 Projectors www.kinoton.com / [email protected] Sound TW-37 Sound www.meyersound.com/cinemaR&S (India) TM-7 Equipment [email protected] / www.rands-india.comScrabble TW-56 3D [email protected] /
www.scrabbleentertainment.comStrong TW-2 Projectors www.strong-cinema.comUSL TW-11 Sound [email protected] / www.uslinc.comVikas TM-13 Lamps [email protected] / vikascorporation.com
April-June 2010 TW-53
www.anutone.com
Anutone provides total interior finish solutions for walls and ceilings to all kinds of architecturalspaces. For cinemas Anutone provides black ceilings, special drywall partitions, fabricpanelling etc. Anutone interiors perform all the time - visually when the lights are onand aurally when the lights are off - so that audiences feel good forever!
Cinema interiors by Anutone Defined by the architect Engineered by the acoustician
Enjoyed by audiences forever!
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